Customer Reviews

Orchestrion

5 star:		(35)
4 star:		(14)
3 star:		(11)
2 star:		(5)
1 star:		(3)

 

 

I've got tickets for Pat's Orchestrion tour in May and I'm bringing my son who is 11 and just starting out his young percussion life. I can't wait to introduce him to one of the finer things in life: i.e. Pat Metheny's Music.

Do I wish he was touring with his band? Yes. Lyle Mays and rest of the crew. I would give anything for a chance to introduce my son to that very rare treat - live especially.

After listening to the Orchestrion CD for the first time, will this be worth it? I think so. I give Pat credit for trying something like this. What the heck: a multi-Grammy winner can step out a little bit I think. I agree with some of the other reviewers that it's definitely Pat, albeit 'mechanized mallet percussion Pat'. But it's okay. It's a project that's close to him and I can imagine the experience of seeing this setup live will be quite original and fun!

The CD is not going to shock and awe you. It's solid Pat Metheny - right on the money in terms of harmonics, improvisations, tonalities, and substance; he's attempting something different here in terms of instrumental backup. I'm giving Pat a 'Hall Pass' on this one. It's decent work!! Go for it Pat!!

There are many like me who slip a Pat Metheny CD into their player while driving to work (or wherever) and are instantly transported back to some of the finer times in their lives. I'm sure I share this sentiment with many, many other people. For this I can't thank Pat (Lyle and various other contributing artists) enough. Pat has laid the background track for many of our lives and it's been a good one. The vibrations have always been filled with inspiration, order, spirit, compassion, kindness, expression, and dare I say Loving Hope. And for the opportunity to let my son feel even a single bit of this, now through this Orchestrion effort, well so be it - I am thankful.

Thanks Pat for another chapter!!! Keep it going man!!!! You make me believe in things I can't see...

I won't go into any detail about the actual orchestrion itself. Other reviewers have done that very well and there are many links on youtube and Mr Metheny's website which explain and show how it works. Make no mistake though the orchestrion is a major progressive development technologically over the older versions and the player piano.

The orchestrion sounds uncannily like a group of musicians (that is how convincing this new invention is) It does sound somewhat different to Pat's varying ensembles but there are complex interactions going on on the macro scale as well as the micro scale of the music.
In a sense this is a kind of follow up to the old album 'new Chautauqua' On that album pat tried to use the studio as an instrument with overdubbed guitars etc to build up the songs. On that album probably due to the technology available and restricted studio time he came away with a very listenable album whose sparseness was highly appealing. On Orchestrion he is afforded a broader, richer pallette to work from and 20 odd years more musical experience.

The Orchestrion is a machine which has been humanised (or gives the illusion of such) It is a very tight but flexible sounding 'ensemble'all under the control of Mr Metheny.

I felt a little underwhelmed on first listen but several plays later this album really begins to grow in the memory. There are a lot of very complex things going on in this music, structurally, rhythmically and melodically & Pat plays some wonderful melodic solos over all of this.

Pat has always done his own thing musically and often taken some wide detours on his musical journey (Song X, Zero tolerance for silence, the sign of 4 etc) Orchestrion unlike those albums follows more in the footesteps of the PMG albums/'Secret Story' and 'the way up'. If the fans wish to follow that is up to them.

The songs on the album (all multi instrumental) have all the hall marks of a Metheny composition but the orchestrion allows him the personal freedom to change the songs often subtly and to do new things. There are new twists to a lot of the music here and like 'Secret Story' the spaces are often filled with great detail in the sound.

The first track is one of the many highlights on the album and is a little reminiscent of 'first circle' from the album of the same name. It builds to a wonderful climactic apotheosis. There are a lot of time changes in the songs which keeps the listener's attention also.

Some attention has been brought to the quality of the drumming/bass playing on this album, namely that it is not up to the standards of a Mcbride or a Sanchez. I think this is asking over and beyond the possibilities of Pat and the orchestrion. The bass and drumming segments are definitely more than functional within the compositional structure of the works here and while not sounding like a well honed bass/drummer do a very fine job. One has to remember the bass parts on albums like 'New Chautauqua' and 'As falls wichita...' which Pat played himself. Those were obviously not as good as a well crafted bass player but did the job within the context of the pieces. Overall critics have very positive things to say about this album. I'm sure if we get an 'Orchestrion 2' it will be even better than this one.

My only criticism of the album is that it feels too short (this is not the case though in reality it is around 54 mins) which indicates that the album is definitely engrossing.

Albums which are immediately likeable usually don't get played much ultimately (in my experience) This one though will certainly be played a lot. Sadly some fans seem to be somewhat resistant to this new device and change of Pat's, for those who decide to stay the course there are many rewards.

In the development of the orchestrion Pat stated in interviews that ultimately the 'music' does the talking. I think he has managed to do this to a high level.

I would recommend the full quality cd version (1411 kbps) mp3 doesn't really do the music justice.

Highly recommended.

I gave this album 4 stars because I can't get past the notion of the majority of the instruments not being performed by humans. But in my heart I give it 5 stars because of the compositions and Metheny's deft execution. As a chemical engineer in an oil refinery, I see solenoid technology employed on a daily basis and what Metheny has done here is nothing short of remarkable. "Orchestrion" is a brilliant example of what music is and its possibilities.

This fascinating approach to playing so many instruments could have resulted in a thing of great beauty and joy, but the resulting music is fairly forgettable. You can't run into a stronger long-time Pat Metheny fan, but one of the reasons for my admiration of Mr. Metheny is that he's so remarkably skilled in creating music with an outer structure of melody and rhythm that carries you through repeated listenings until you are better able to admire and enjoy the beauty and subtlety of the deeper complexity. That doesn't happen here. It's a bit too academic so there's no real motivation to listen again.

I believe Pat has chosen over the last several years to move into a more abstract phase of his long career; I think he's moved on from more melodic music for understandable artistic reasons and perhaps a bit of boredom. His newer music appeals more strongly to more elevated and intellectual listeners and high-brow critics, who will very likely admire this new release considerably. Which is good for him...

... but not so great for me.

Just retrieved this work from the mailbox and am currently listening for the first time. One word...brilliant. Like many listeners, I've enjoyed Pat Metheny's genius and artistry since 1978. Is this work different?...yes, but not nearly as much as earlier offerings from Metheny. Orchestrion will not disappoint... just go get yourself a copy and enjoy another creative effort from this human gift. Support this artist while we have him!

I got home from a live performance by Pat Metheny with his "Orchestrion" contraption tonight (at 1:49AM last night technically), and have to report inspiration, a new sense for what it means to be truly creative, playful, disciplined and talented, humble and graceful. The album is great, but you got to see this live if you can. He performed pieces from this album and other favorites from the past, and most importantly improvised for us. He did a spectacular Ornette Coleman sort of improv, and built a piece of music incrementally, from scratch, on the spot before our eyes. It was magic! Absolute magic! The album captures my imagination even more having seen the concert.

In a time when so many artists use digital instruments and techniques, this childlike fantasy-turned-reality creates an incredible warmth, poetry, and nostalgia. The scale at first seemed overwhelming, and then as the evening went on it evolved into something completely intimate and homegrown. There is a spectacular, very American touch of mid-western surrealism in the whole project. It's a creativity that comes from a familiar interior place, and is illuminating. I greatly look forward to the future this direction may lead. What heart!

I'm writing this review with only two times through the record under my belt. On first listen, the title track definitely seemed to be the highlight. It's a very moving, emotional piece with obvious influence from the last Pat Metheny Group recording, "The Way Up." The rest of the album is also good--but maybe not as special as the title track. However, this is pretty complex music, and I've often found that with time Metheny's music can grow on you with subsequent listens.

Pat Metheny is certainly one of the greatest artists of his genre, possessing an imaginative and inventive musical spirit. Pat is also an ambitious artist and Orchestrion is an ambitious album. Pat is on his own here, surrounded by a complex array of instruments that function specific to Pat's devices. To the ear, one can not tell that there isn't a "Metheny Group" or "Trio" performing with Pat. But, taking out the uniqueness of the album's development, the heart of Pat's gift is creating complex but approachable pieces that desire multiple listens. However, where albums like Still Life Talking or We Live Here contain shorter pieces that are easier to digest, Orchestrion's tracks are lengthy and feel a bit minimalist. Is the minimalist feeling related to the lack of a supporting cast or simply a reflection on how Pat wrote the music?

Focusing on the tracks, like some of Pat's music, the first run through the album didn't make me fall in love with the album. However, upon repeat listens, I'm glad I bought it. The tracks are catchy and enjoyable--still a very solid effort. But, I am less inclined to listen to the tracks mostly because I don't always want to dedicate 16 minutes to listen to one of the songs. I know it sounds unfair for the rating, but I'd rather listen to a complex and rich song from First Circle than a more minimalist and twice as long track from Orchestion. Listening to Orchestrion in full is a bit trying relative to other albums.

On an aside, I saw Pat in concert for this album and I don't think the audience truly got into the album either. Frankly, Pat could have done a better job explaining how the Orchestrion worked earlier in the concert--that might have helped. The biggest applause during the concert was for non-Orchestrion songs and ironically the improvisation with the Orchestrion. No one questions Pat's brilliance, but in terms of listenability, this isn't going to be one of my favorites. Buy the album if you're a fan, but this is going to take more effort and patience to appreciate.

I've listened to the album at least 10 times now and am still loving it! If you're a Metheny fan go get a copy!

At first glance this might seem like a "novelty project". I must admit when I first heard Pat Metheny was involved in a project using mechanized instruments I was quite intrigued yet skeptical. After listening through the album one time I can say I find it a compelling blend of percussion, tuned percussion, blown bottles and guitar-bots. There is a very specific palette here that Metheny deploys with great precision and imagination. There are those who say they've heard it all before, that this album reminds them of a number of past Metheny releases, most specifically referencing the last group album, "The Way Up". Certainly there are passages, phrases, rhythms and compositional devices that reference his ever-growing body of work, but contrary to the feeling that the work is self-referential in a derivative way, I find it quite the opposite: Metheny has developed a harmonic language and melodic voice so specific that every composition reflects an aspect of his highly developed musical personality. Listen to any of the great composers, Mozart, Debussy, Stravinsky, Ravel etc. and you will find repeated motifs and patterns that make their way into their bodies of work. It is a natural part of the vocabulary of an established composer to utilize these devices and in no way reflects poorly on their compositional skills or their musical evolution. These "licks" are the building blocks of longer forms.

Which brings us to Orchestrion. At first glance this tends to sound much like the group sound that we've grown to love over the last four decades. To this reviewer's ears, there is nothing wrong with that. On closer inspection one becomes aware of Metheny's careful tailoring of his orchestration for his mechanized assemblage of instruments. Like "The Way Up," longer forms are being explored and it takes time to hear the broader arc of some the pieces. The opener, also the title track, is over 15 minutes long and goes through many changes, playing off of a simple melodic figure which is taken through a number of harmonic and rhythmic detours. in contrast, the fourth tune starts off as a lush ballad and then turns into a minor blues halfway through, which is quite easy to absorb at first go round. In fact, most of the music on this album is really quite accessible- if you are already a fan you'll be very comfortable yet happily surprised by the uniqueness of each piece.

Some reviewer mentioned the album seems too laid back, approaching a smooth jazz feel. He could not be further from the truth: there is not a shred of that wimpy genre to be found here.Metheny's music is far more sophisticated and developed to be lumped into that lame category. For those who are concerned that a jazz album may be stultified by the use of a mechanical orchestra, rest assured this album grooves like nobody's business and once you get past the somewhat bizarre concept, you'll surely enjoy the ride. It is so effectively realized, the majority of listener's enjoyment of the music won't be impeded by the methods used to create the music.

Some say it was Ella Fitzgerald, some say it was Duke Ellington who said "there are only two kinds of music, good music and bad music". This album decidedly falls strongly into the former camp. It may not be Metheny's most memorable set on disc (hence the 4 star rating,) but it is nonetheless a solid entry into his ever-growing canon of exceptionally well-crafted music.