Customer Reviews

Pat Metheny Group

5 star:		(74)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I had heard of Pat Metheny back in middle school, when I first really started exploring jazz. It wasn't until one of the jazz ensembles at my high school played Phase Dance during my junior year that I actually got to hear something by Metheny.

I wasn't in that particular band, but I remember the bassline sounding cool, and I thought I would seek out the record. I finally bought it on used vinyl in August 1995 -- and I couldn't wait to get home and play it.

It was one of the best decisions of my musical life.

Phase Dance is a great song, very positive and uplifting, but San Lorenzo is the album's centerpiece to me. Lyle Mays' solo just blows me away everytime I listen to it. This is definitely not a spontaneous album (and his solo may have even been rehearsed) but it works so well.

As much as I don't like winter, this album has a very wintry feel to me (even though I bought it in the summer heat). Maybe it has to do with the picture on the back of the record, and the fact that it was recorded in Norway during winter.

Listen to San Lorenzo and Phase Dance and imagine snow falling outside, then sparkling in the sun after the storm's gone. The rest of the album enthralling as well, but it's the first two pieces that really shine.

It was 1977 and I was a student at a technical school in Boston, an ardent fan of Jean-Luc Ponty. There was a concert at the Berkley Performance Center where JLP was going to feature pieces from his Enigmatic Ocean release, one of my favorite albums of all time. I was completely oblivious to the warm-up act because I was there to experience Jean-Luc Ponty but at the opening of the show there was a guitar at center stage positioned on a stand where a guitarist need only walk up behind the instrument and begin playing. There it was, its neck jutting at a 45 degree angle, waiting to be brought to life by an appropriate musician. Soon, a floppy-haired guy, accompanied by the other members of his group, bounced onto the stage amongst tentative applause. The floppy-haired guy waved appreciatively at the smattering of recognition from the audience while the other musicians took their places at their respecive instruments. Slung over the back of the floppy-haired guy was another guitar, presumably his principle instrument. To my surprise, the guy bent over the guitar positioned at center stage and began to wail out the opening notes to "Phase Dance," a piece that has to be one of the best works of jazz-fusion of all time. He played several bars of the opening theme then stepped back from the guitar on its stand, reached back over his shoulder, grabbed the guitar slung over his back whipped it around front and proceeded to crank out a solo that could bring tears to one's eyes. I didn't know who the artist was at the time but I knew that he was talented and I made a mental note to remember this artist for future reference. After his group completed his set, Jean-Luc Ponty took the stage and I instantly forgot about the warm-up band.

Several weeks later, a friend approached me and said that Pat Metheny was appearing at a club called the Paradise and would I like to go see him? I replied, "Who's Pat Metheny?" His response was, "Don't worry about it, I know you'll like him." I thought, what the hey.

After we were seated at our table and a round or two of drinks were served, the stage lights came up and there was, at center stage, a guitar on a stand positioned at a 45 degree angle, waiting for a guitarist to approach it from behind, grasp its neck and begin playing it for all it was worth, which is just what happened when some floppy-haired performer bounced onto the stage, wearing another guitar over his back, accompanied by the other menbers of his band. The guitarist bent over the guitar on the stand and seconds later the first bars of Phase Dance were blasted from the speakers onstage.

My eyes widened. I said "That's the guy!!!" That was the night when I began to fully appreciate the artistry of Pat Metheny, his uncanny ability to wrest every ounce of emotion from a guitar, his ability to express every emotion from despair to elation using nothing but his fingers, strings and a geyser of talent.

That night, I went to a music store and bought all of the Pat Metheny Group albums I could find (there were no such things as CDs at that time) and began a journey of exploration into an area of jazz that widened my horizons to an entirely new level. Pat Metheny remains, to this day, the guitarist for whom I hold the utmost respect and in whose talent I stand in awe.

Before I start, I should make it clear that: a. I love Metheny's melodic albums, but tend to avoid his harder jazz albums (Song X, Zero Tolerance etc). b. I have been listening to his albums since 1978.

That said, I would place this album firmly in a top six which also includes Offramp, Quartet, Travels, First Circle and Letter from Home.

I would agree with nearly all the comments made by other reviewers of this album.

I would strongly urge anyone who enjoys this album to invest also in Gary Burton's 'Passengers'. It came out a few months earlier, and has a similar style, with vibes making up for the absence of keyboards. It marks the point where Metheny's compositional and playing strengths became obvious to everyone, and where he took the decision to devote his efforts to his own band and solo efforts.

I first heard this album (CDs were still a gleam in the eye of their inventor) soon after it first appeared in the late '70s, and became a rabid Pat Metheny fan because of it. More than two decades later, I feel Metheny has never surpassed it. He may have recorded more ambitious albums, but none of them have the sheer spontaneity and sweetness of this one. "Jaco," with its bouncy tune and Mark Egan's throbbing bass, is still my all-time favorite Metheny piece, while "San Lorenzo" and "Phase Dance" still sound like the musical backdrop for the best vacation you ever had.

If you've read 52 reviews for this recording, you don't need to read one more. I know that. But if I didn't say something about this recording I'd feel like I'd be passing up a chance to weigh in on the best record that ever existed. I could say that about several other records, and when you place a recording in that category you know you've passed up objectivity for pure emotion anyway, and it's all off the chart. Many people have have told you what I'm gonna tell you. This record is off the chart. We have to express it in terms of where we were the first time we heard it,and some magical setting we heard it in. This is what music does to the human psyche in its best moment. And the reviews seem to be a bit divided between those of us who have heard this Pat Matheny Group record several times and those of us who have heard it every few months for twenty-five years now. Very little compares, or ever will compare. We're saying this: if you value any of our musical opinions/understanding, do yourself a lifetime favor and own this record/CD. Like Mike Bloomfield once said - "The music you listen to takes on more import than the notes played -it becomes the soundtrack of your existence." This music has made my soundtrack infinitely more worthwhile. I hope it will do the same for you.

It is really difficult to believe that this initial recording by the Pat Metheny Group is now 25 years old. The distinctive music remains interesting on its own merits, not something to be relegated to vintage status, but still sounds fresh and vital. The opening chords of San Lorenzo could easily serve as a start-up greeting for the latest generation Apple computers.

There is none of the head-on, confrontational approach that Mr. Metheny sometimes employees---usually in his recordings outside the Pat Metheny Group---but a lilting, almost dreamy soundscape that conjures up associations with what it must be like to go gliding on a thermal on a spring afternoon. Indeed, the energy here seems conjured from that same essence that precipitates spring fever---consider that two songs are called April Wind and April Joy. Phase Dance is sheer joy rendered in a song. Jaco, a tribute to Jaco Pastorius composed some nine years before his tragic death, lets the bass shine through. Lone Jack pulses with energy like that of a stream charged with fresh spring rains.

Mr. Metheny plays shimmering, fluid chords throughout, and Mr. Mays, whose lyrical keyboards are just as essential to the distinctive sound of the Pat Metheny Group as its namesake's guitar, shines throughout. This pair, the mainstays of lineup that has seen many changes during this quarter century, share a special empathy, and the sum is much more than the parts. The superb Mark Egan and Danny Gottlieb, who later left this band seeking more creative freedom (check out their stellar work in Elements if you can find any recordings), do more than anchor the sound like many rhythm sections. Mr. Egan's bass lines provide an agile, complex counterpoint to Mr. Metheny's soaring guitar. Mr. Gottlieb, one of the more underrated modern percussionists, glues all the sound together, providing direction, texture and interest throughout.

I have a number of recordings by the Pat Metheny Group and its various offshoots and side-products. I like every track on this CD, and if I had to pare down my collection to a single Metheny-related CD, this is the one I would elect to keep.

One summer evening, years ago my wife asked me to go get some milk at the store. Once in the car I tuned in to the local jazz station and San Lorenzo was just starting to play. I was mesmorized (sp). My first hard exposure to Metheny. That cut was still going when I arrived at the store so I listened till the end, wondering who was performing this piece. Once completed the host said, quietly, something like this, "Wow, did you like that?I never can get enough of listening to Metheny. Let's listen again!" UNBELIEVABLE, he actually replayed that cut, 13 minutes long if I remember correctly, and I just sat there in the car listening. Let's see the canned "Smooth Jazz" stations today try something like that besides busting out of their predictable format you'll hear on EVERY "Smooth Jazz" station. At any rate, San Lorenzo made me an instant PM fan, own all the CDs and videos, been to 12+ concerts, and can't wait for more. If you wonder whether PMG is worth a listen to, I'll cast 10 stars as my rating. Bill

Modern jazz is a difficult thing to categorize. There are so many diverse and idiosyncratic artists, many of whom have a sound that is rooted in jazz, but extends beyond just that. These sounds can be traced back to the 1960s and '70s, as well-known cats like Herbie Hancock, Keith Jarrett, Chick Corea, Weather Report, and less-famous but equally skilled ones like bassist Eberhard Weber, guitarist John Abercrombie, and of course sax/violin maverick Ornette Coleman began to experiment with an idea that is still considered blasphemy in the eyes of jazz "purists": integration of what were considered singular styles into jazz. Classical, minimalism, Nordic ambience, contemporary R&B, heavy rock, and free improvisation expanded the jazz landscape, reflecting the increasing tolerance of the times, for better (the magnificence of Weather Report) or worse (Grover Washington, Jr.'s smooth instrumentals, while groundbreaking for their time, influenced a whole generation of no-name knock-offs who eschewed the freedom of self-expression that makes jazz so unique).

The Pat Metheny Group was just a blip on the radar of many of those following this new and exciting music when they burst onto the scene. The dynamic frontman was fresh off of his first two solo albums, having formed his new Group just one year earlier with his new friend and right-hand-man, keyboardist Lyle Mays. After touring extensively and relentlessly searching for that brand new sound, the salvation of these struggling musicians was finally found.

The Pat Metheny Group, or PMG as many fans affectionately call it, has skyrocketed up the path of success since then, but they started off skyrocketing. I've been a die-hard fan of the Group for years, but I was unfamiliar with their roots, so I decided to check this one out. I was stunned. Despite many brilliant albums since 1978, PMG's freshman debut has aged magnificently, remaining one of the finest albums they've ever recorded.

You can credit producer Manfred Eicher for helping to create on the mellow and atmospheric sound the Group has become known for, but the key to the album's success is the songwriting. The Group members were all in their early to mid 20s when this was made, but their musicianship and songcraft give them the characterization of Michelangelo. The buoyant opener "San Lorenzo" captures the happiness and passionate MO of their music, with a stark yet soulful piano solo by Mays that brings to mind the touch of Keith Jarrett. However, Mays holds his own and proves himself a force to be reckoned with. "Phase Dance" continues to expand on the Group's principle of melodic improv and not a single note is out of place.

The great guitarist Pat Metheny is still finding his voice, but for him, that's like saying he's ranked #2 as the greatest guitarist of all time. He is relentless in his creativity, reflecting his Missouri roots with country riffs on "Phase Dance", smoking the axe on the funky "Jaco" only to spread soothing calm one song later on the minstrel-like "April Wind".

Not everyone will appreciate this gem; the mellow yet loud drumming of Dan Gottlieb and the melody lines might convince some listeners that this is just Muzak, which it's not. If anything, it's a thinking man's Muzak: the paintbrush of musicianship engulfs the canvas to create something that ensnares your senses. The throbbing bass of Mark Egan, the guitars, the keyboards, the drums, everything is woven together to create an exquisite feeling of delight. I read a review of this album that said, "The music grows in interest with each listen." As the interest grows, the love grows too. I'm interested enough to hear it again and again.

GRADE: A+

With the case of most artists throughout the globe, it takes years of toil and sweat to create something that truly sets them apart from the pack, a magnum opus that not only represents the beginning of their prime and earns them legions of admirers but should also please themselves. With the exception of the shoal of half-baked post-grunge/punk/ "new-school rap" robots that plague the American radio airwaves, there are more musicians like this than we have come to believe, and many have earned our admiration and obsession: The Beatles, Yes, Milton Nascimento, John Coltrane, Miles Davis, Alicia Keys, and the Pat Metheny Group.

As far as albums are concerned, the Pat Metheny Group's first album comes out swinging for the knockout punch. Every song is strong, not a note is out of place. The simple quartet structure is a far cry from what we've come to expect from PMG (complex, flexible septet sets), but the music remains as tight and fresh as ever, even if it's from 1978. While you can make the argument that "Watercolors" was technically the first PMG debut (everyone on the disc except bassist Mark Egan peformed on that solid yet sometimes dwindling outing), this is where the key was in ignition and the engine was fired up.

It's a true rarity that artists can create something that cannot be classified except unto themselves: this band is one of them. The opening "San Lorenzo" moves fast and smooth, with a buoyant and captivating sense of happiness that came to define the Group's sound. Even though it's a little over 10 minutes long, it never feels that way, and is the coming-out party for a kid in the corner that nobody seems to notice: Lyle Mays. He absolutely shines, with firm support from the jaw-dropping Danny Gottlieb on drums. I prefer this version over the live version because this one has the stronger piano solo.

On the classic "Phase Dance", the guys settle into a comfortable groove, with some mean licks courtesy of Pat, and killer synth lines from Lyle that give this a futuristic touch. The overlooked "Jaco" shows Pat's wide-ranging interest in different styles of music, with a folkie opener that transitions beautifully into cool Steely Dan-esque funk. This tribute to the late and great Mr. Pastorius sadly seems to have been forgotten like its subject matter.

Despite some near-perfect music, the minstel-stylings of "Aprilwind" dwindle a bit, but within about 40 seconds, spectacular jazz chords abound and keep it from being a bit of a navelgazer. The transition to "April Joy", the first song Pat ever wrote by the way, has an atmospheric and Jaco-esque bass line backed up by haunting guitar that simultaneously evokes a frigid flurry and the sun peaking over budding trees on the horizon. "April Joy"'s opening section is nice, but contains an interlude that goes into a slow reprise of "Phase Dance". Either look on it as writer's block or genius. I'll take the latter.

Finally, "Lone Jack" foreshadows the brisk samba stylings the Group would later come to embrace in full force, and ends the album with a bang. If nothing else, listen to a bit of Pat's solo, then fast forward to about 4:07 in the song, where it's just piano and bass. You can thank me later.

n3ur010g1c gives "Pat Metheny Group" a 10...out of 10.3 (~97%)

Everytime I read a Pat interview you see the same answer to the same question: "The old tunes aren't that much fun to play anymore." Old fans will remember that Phase Dance and San Lorenzo were once concert standards, since replaced by the likes of "Last Train Home."

New listeners will probably never experience the power of those pieces live. Travels does a more than admirable job of presenting them, but Group is the original article. It is a hauntingly beautiful album. Flawless playing; peerless subtleties and shadings.

It is a thrilling album to listen to. Aprilwind and April Joy are haunting and utterly beautiful follow-ons to the joyful funkiness of Jaco. Lone Jack, almost a reprise of Phase Dance and San Lorenzo, closes out the album on a mad spine-tingling rush. You will find yourself hitting the play button over and over again.

Pat and the Group have made some incredible albums since then and there are those who can argue his electronic Towers of Babel on their own merits. But Group retains its crystalline purity. This is his finest statement.