Customer Reviews

Lyle Mays (Reis)

5 star:		(25)
4 star:		(3)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Lyle Mays' place in jazz history is assured as the man who co-wrote many of the Pat Metheny Group's greatest songs. For some it is enough to have worked with a demi-god; others seek to become a superstar themselves.

This was Lyle Mays' first solo outing, and of the four I own, it is the only one of his CDs with the scale and the ambition that endeavours to push Lyle into the pantheon of jazz greats. It is also, in my view, his best.

Here Mays leads a band consisting of many modern jazz notables: former Weather Report drummer Alex Acuna, wondrous guitarist Bill Frisell, and Brazilian percussionist Nana Vasconcelos. I've seen Lyle in concert with the PMG, and he seemed the focussed introvert, perfectly happy to sublimate his own urges for the sake of the group dynamic and its leader, Pat Metheny. He lacks the extraversion of say, Keith Jarrett or Thelonius Monk, and he looked as though he might be uncomfortable as band leader himself.

And yet this album really works. Mays is always at the forefront of the mix, and yet he elicits magnificent performances from his band, particularly Bill Frisell. Critics at the time said the album owed something to Weather Report: listen to track #2, 'Teiko', and then some of 1976's 'Black Market', and you'll get an idea of what they meant. But the comment shouldn't have been taken as a criticism.

Mays' error was in not keeping the band together. The album that followed, 'Sweet Dreams', is too much of a mish-mash, with too many changes of personnel, to present the coherent whole that his album provides.

I've owned this album in two formats -- LP and CD -- and fifteen years on, I believe that the greatest tracks are the ones where Mays has retreated on his own to the studio. So the Bill Evans-influenced 'Mirror of the Heart' and particularly the luscious 'Close to Home' get my vote.

Far more sensitive than Corea, less brash than Zawinul, and simply less weird than Jarrett's vocal outpourings, Lyle Mays is perhaps just too shy and too downright reliable to become recognised as the piano-and-synth great that he is. Jazz historians still largely ignore him -- it's their loss -- but it would be a shame if fifty years from now, people can only read about him in the chronicles of New Age music.

It actually took a few months, but this album became my all-time favorite body of music works, hands down, and has been for five years now. For the Pat Metheny fan, it is essential to hear the "Lyle" compositional element on its own, and for the "new age" fan, this is a great example of a comparable style containing some actual depth rather than a lot of gratuitous swirly synthesizers in static major keys. The sidemen are top-notch (and in top form). Frisell, Johnson, Acuna... every note on the recording is an act of superb musicianship. Be prepared to give it some time and more than a couple of plays to sink in, though, if you're not used to this style of music, as well as your full attention; this album is brimming with delicate subtleties worthy of notice. Every track is incredible, but those I feel are particularly outstanding are "Slink", a straight-ahead jazz number with a seamless contrapuntal melody, "Alaskan Suite", a trilogy building from the serene to the dramatic, and "Close to Home", a moving synth/piano ballad. Mays' keyboard orchestrations are masterful throughout, especially if, like myself, you are partial to the older, organic, non-digital sounds. Most importantly, I consider this album to be a distinct and unique contribution to the genres of jazz, exotic, atmospheric and art music; it is welcome proof that "nice"-sounding music doesn't have to lack ingenuity or sophistication.

I was first introduced to the influence of Lyle on "As Falls Wichita So Falls Wichita Falls." I was driving through a snowstorm in the Rocky Mountains, and I was blown away by the music's ability to transform a treacherous situation to one that became simply ethereal. I went out and bought "Lyle Mays" upon my return to the city, hoping to find more of the same music that would have a similar effect.
A professional DJ friend has commented more than once that my music collection (more than 600 CDs, more than 800 albums) is the most ecclectic he's ever seen (from Limp Biskit to Van Morrison, Coltrane to the Doors), but this is by far the most-listened-to piece of music I own (at least once a week). I'm not a musician, so I can't necessarily address the technical aspects of the music as can other reviewers. However, I'm not a chef either, but I can certainly identify what tastes good. And this is it.
Take it from a Native American ... this is the musical equivalent of peyote. It will transport you.

During one interview with Steve Howe, the guitarist for Yes, he said that Yes' real goal was to maximize emotional impact. I believe that Lyle Mays has also worked toward this on his self titled album. If you have ever believed that new age music cant also be extraordinarily progressive listen to this CD a few times. It has the flavor of new age "smooth" Metheney Group-jazz but with massive chords, lush harmonic movement, and sophisticated symphonic textures. This album is progressive new age jazz done extremely well. Guitar visionary Bill Frisell takes a subdued textural role with a meandering distorted edge that he rarely displays any more. All in all, its a masterpiece of an album. If you like this run (dont walk) and buy "Secret Story" by the Pat Metheney Group.

PS: This CD is great for knocking boots :)

If you buy this record or lend, say thank you. This is only thing you can do it. Thanks Thanks. I am jazz and bossa nova fan,lonnie liston,jaco pastorius and other kingcats. Pat metheny was part of my life and i think his album american garage changed my way of listening to music. So rich in harmonies and changing moods from joy to sorrow and painting the canvas without borders has never happened to me before. But this album from Lyle Mays is so full of emotions, landscapes(arctic suite) and feelings that I hardly thought I have, all this suddenly oppened from me and transformed itself in white bird who flew away with a message on her leg.

You will never be sorry for this. Speechless. Absolutely history. The king of Synclavier, the pat metheny basement maker, the introvert and lonely, the Master Lyle. Dont listen to anyone in Downbeat. Invent your own Upbit, listen to your heart.

I was very disappointed to see a negative review on this CD. This CD is a perfect example of the depth that Lyle adds to the Pat Metheny group, the depth you feel on As Falls Wichita so falls Wichita Falls and Off Ramp. This is very personal music at its best (brain food). I would recommend this CD to anyone that has a calm spiritual side they like to make time for. It has been one of my favorite CDs for years and will remain.... This is not something you play for entertainment at a party, it's something you play for yourself to get a way from it all.

This album is a masterpiece. It represents one of those rare occasions when the right group of great musicians got together on the right day, with the right music. The balance within these compositions rivals anything the classical world has to offer, except that it's organic and spontaneous sounding. Lyle Mays
is so underated in the Jazz community it's frightening, makes me think they're not really listening. On top of his superlative composing/improvising chops, he's also an amazing original sound designer who's at the absolute top of the game. If you want to know why Pat Metheny introduces him as one of the great musical minds in the world today, listen to this album. In my humble opinion, Lyle Mays is the guy to catch if your a composer/improviser these days...and within these pieces you'll hear suggestions of where jazz might be headed. Everyone shines on this album, and because of it the songs are transcendant. I think this is perhaps my favorite album of all time, because I actually feel withdrawal if I don't hear it every once and a while. OK, how's that for a glowing review... and I meant every word of it! Do your self a favor and listen to this album often, you'll be a better person for it.
Cheers. Mark Daum

are all wrapped up in this work by Lyle Mays. Every time I have ever gone to hear Pat Metheny live, I always wind up listening to the piano. Lyle says what he has to say in a beautiful eight selections. He didn't need to go to the standard 14 to make his point successfully. This album is not just classic. It is epic bordering upon historic is it's scope, scale granduer and comprehension. It embodies the mastery of oneness with one's instrument and hearkens to all the great artists who work thier avocation as gift, even over and above mere craft. I hear the greatness on a par with the likes of Allan Holdsworth, James Brown, Aretha Franklin, George Duke, Keith Jarrett, Tribal Tech, Stanley Clarke, Mike Stern, Herbie Hancock, Joe Zawinul, Lenny White (and yes, Pat Metheny and the group "Yes") and so many others who have reached the pinnacle of artistry and achievment in the world of music and have become my all-time favorites, all represented in this special offering by Lyle Mays. This album is more than music, it is a spiritual event. Thank you Lyle and and Pat M. and company.

As Kramer said about the Soup Nazi on "Seinfeld": "He just happens to be a little eccentric. Most geniuses are." Lyle Mays is one of those. When I saw him in concert with the PMG on their "Speaking of Now" world tour, I was stunned. All decked out in his wild, untamed hairdue, Grinchy grin, and fingers as long as a tarantula's legs (w/out all the fuzz):D, Lyle poured out his soul on all those keyboards, and did it with style, grace, and absolute perfection. I already knew he was a great songwriter, co-composing almost every PMG tune, but I was pretty skeptical about his solo career. It wasn't very prolific, and from what I heard of most of them, they sounded a little too filler New Age-y. Man, did that opinion shatter after hearing this.

It took him long enough, but Lyle Mays' first solo effort is one for the books, an impassioned and totally immersive album of an artist who is way too often overlooked in the jazz arena. With an awesome band to back him up (Bill Frisell; take that Pat! JK), and a keen reflector of his influences, Lyle takes the upmost advantage of the fabulous technology and his bandmates to create an album utterly unique and amazing. While there are instances in the opening "Highland Aire" that suggests the PMG sound (the trademark pennywhistle synth on the main melody), this is Lyle's sole creation, and many of these songs would arguably serve as distinct influences in later PMG songwriting. "Teiko" sees the band dive even further into world influences. The pounding samurai and abrupt clashes send a sprawling pulse. But perhaps my personal favorite out of a barrage of great songs is "Slink", a complex and skillfully crafted tune that echoes the sounds of vintage Weather Report and Steely Dan, with some fine soloing thrown in for good measure. Lyle gives even the mighty Keith Jarrett a run for his money on the weird yet charming "Mirror of the Heart", setting the stage for the centerpiece of the album "Alaskan Suite". If the movie "Local Hero" had been set in Alaska instead of Scotland, this album could arguably serve as a fine soundtrack. Don't get me wrong, Mark Knopfler's soundtrack is astounding, but when you hear the subtleties and amazing marriage of blues and New Age on "Pt. 1: Northern Lights", you know you've heard something utterly indescribable. Picture a meteor shower over Mt. McKinley on "Invocation", and the end credits of an Alaskan movie on "The Ascent", and you've got yourself a magnum opus. Finally, "Close to Home" closes off the album in a quiet and beautiful fashion, pure Lyle Mays.

Pure Lyle Mays. One of the most underrated jazz musicians, who has so expertly fused the endless possibilities of new technology with his imagination, all together with a posse that Joni Mitchell would kill for. I hope jazzers take heed, because America's classical music is a dying art, and you need someone to push the genre forward into unchartered yet rewarding territories. This is one of the albums that does.

FINAL SCORE-9.25/10

My 1st taste of Lyle Mays was with Pat Metheny on As Falls Wichita... also an amazing album. This is NOT something you play at a party. Neither is it something that would make an appropriate soundtrack for a Bruce Willis flick. There is a distinct possibility that any attempt to breakdance to this album might result in serious intestinal injury. This is a work you play for yourself or perhaps one special person you want to share something very personal with. I think Lyle Mays shares something very personal with his fans on this CD. The album has a deep and genuine feel to it with absolutely no needless showboating or pretence of ego. That is extremely rare when musicians of this caliber are put together.

This is simply some of the best melodic jazz you will ever hear. It was a beautifully emotive work when first introduced in the mid eighties and it has aged well over twenty years. True art endures and this work is timeless.