Customer Reviews

The Way Up

5 star:		(105)
4 star:		(24)
3 star:		(17)
2 star:		(10)
1 star:		(10)

 

 

Most artists who have more than 30 years of success behind them usually talk about that one unfinished masterpiece, the one that's swimming around in the brain just waiting to come out at just the right time. In the case of Pat Metheny, his latest effort "The Way Up" could very well be such a piece.
Consisting of a single 68-minute piece broken into four sections, "The Way Up" finds the Pat Metheny Group diving head first into unknown yet familiar musical territory. Musically, the piece is not too different from that heard on previous efforts such as "Speaking of Now", "Imaginary Day", "Letter From Home" or even "First Circle". However, there are some brilliant new elements heard in the music as well. Metheny's latest drummer Antonio Sanchez plays with more complex syncopations and has a unique style different than his predecessor Paul Wertico. The addition of the young harmonica player Gregoire Maret gives the music more of a folk flavor at times. Maret has an excellent harmonica spot which can be heard in the middle of part two of this piece. Pat's guitar work also seems to be more varied as well alternating between electric, acoustic, slide, 12-string, fuzz and guitar-synth. His playing is acceptional through the piece especially from the middle of part one to the part's conclusion. Trumpeter Cuong Vu shines with brilliance throughout the disc as well displaying a style that echoes Miles Davis with a slight hint of Arturo Sandoval and (dare I say it) Herb Alpert.
Despite this CD being comprised of a single piece of music, there is plenty to digest here. The changes of mood and texture heard throughout the piece make the 68-minute running time almost seem like nothing at all. The strong musicianship between Pat and his bandmates is sensational while the compositional structure is flawless.
Applause must be given to Pat Metheny and keyboardist/collaborator Lyle Mays for taking such a daring step and successfully pulling it off. This is Pat Metheny's definitive magnum-opus, a mountain-top acheivement for this brilliant guitar genius. Bravo.

How often can one accurately say this of a musical recording? This record is, indeed, a fearless piece of work. Metheny darned well understands that there are many people who won't easily connect with THE WAY UP. If crafting an individual tune is analogous to writing a piece of fine short fiction, then THE WAY UP might appropriately be compared to writing a major (yes, literary) novel. It's interesting that THE WAY UP is getting the best mainstream newspaper and magazine reviews of Metheny's career. Maybe those folks who don't easily take to the record should ask themselves why it's garnering such intriguing accolades. Don't be shocked when THE WAY UP wins a number of Grammy Awards and makes numerous reviewers' top-ten lists for 2005. And, yes, this record does grow on many people with each listen. I'm one of those folks.

Davis Miller,
author of THE TAO OF MUHAMMAD ALI: A FATHERS AND SONS MEMOIR

I pre-ordered The Way Up from Amazon and was amazed to receive it today (January 24,) one day before the scheduled release date. I hope nobody gets in trouble. I have listened all the way through only once so this review is based on my initial impressions. As you may know, The Way Up consists of one track, 68 minutes long and broken up into 4 sections. While for the most part it seems to be on familiar ground melodically and harmonically, it is a complex, layered piece whose compositional form challenges the listener. On this CD, PMG are stretching the bounds of song structure and compositional organization in a Jazz setting. I suspect that the shorter length of the Opening, which clocks at about five minutes, is a small concession to Jazz and Smooth Jazz radio stations, who mostly cater to listeners with shorter attention spans.

Within this expanded compositional setting, Metheny and Lyle Mays have written their most exciting and original music since Metheny's 1992 solo album "Secret Story." At times densely layered, with much greater use of overdubs than on previous albums, the different sections flow into one another like a musical stream of consciousness, at times somewhat reminiscent of the work of fellow Nonesuch artist John Adams. It's probably not coincidental that now that PMG is on the Nonesuch label, they feel the freedom to work in more complex and interesting song structures.

Metheny's and Lyle Mays' playing is varied and compelling, much more so than on the last two or three PMG CD's, which were very enjoyable, but which were so well crafted that to me they lost some spontaneity (I'm sure many would disagree.) The "Speaking Of Now" DVD, was much better, with new arrangements of several PMG "standards" and great musicianship. Joining PMG again on this CD is the wonderfully expressive trumpeter Cuong Vu, whose solos evoke Miles Davis but still have an original voice and new member Gregoire Maret, who is described as a "harmonica virtuoso" on the PMG site. Maret has at least one beautiful solo, but at times it was hard to discern whether I was hearing harmonica or guitar synth or keyboard. I'm sure future listens will make that clear.

This is definitely a CD that will require repeated listening to fully grasp the enormity of their accomplishment. This CD will probably leave behind the Smooth Jazz listener who is not used to longer and more complex compositions, which I suspect is one of the things that PMG intended. For those willing to dive in and give it their full attention, The Way Up is an enormously rewarding experience that ranks up there with the best of Metheny and PMG's other recordings.

At last!!!! The group breaks away from even it's own signature sound to forge a new sound, one that bends genres, incorporates disparate elements and meshes it all seamlessly.

This is the strongest edition of the group in years. Gregoire Maret and especially Cuong Vu lend so much to this recordings new dimensions. Antonio Sanchez is the best drummer this group has ever had and he shows why on this recording. He propels and drives the group along energetically.

The virtuosity abounds. Yes, there is some of the familiar here. There is much subtlety here as well. Vu's unique method of providing textures. Rodby's steady, strong bass lines.

You can hear the best of what the group is known for here as well . The lyricism and melodicism. When the group slows the pace down, they still convey the rich atmospheric backing to the sensitive and emotive solos. There segues are excellent as the group goes from minimalism to be-bop and many other places in between.

There is much emotion here but present in a less overt way. Pat's use of various guitar sounds, many of which he's not used before is quite inventive. There's texture, contrast here. Tension and release. This one bears repeatedly listening since you will here more as you go along. It's worth the effort. I have been a fan for years, but this miles beyond "Sound of Now" and veritable light years beyond "Letter From Home" and "Still Life (Talking)". This is a band redefining itself and doing it well. A band not sitting back on it's laurel or simply relying on what has worked for it in the past. This is one of the best recording you are going to pick up this year. Imaginative, forward looking and exciting. It demands your attention and rewards you for it.

So many artists at this point in their career after so much artistic success begin to repeat themselves and reiterate what has already been done entirely too much It's refreshing to find an artist who's not afraid to strike in a new direction. It's Pat and the group, the essence in a whole new way. Kudos to Pat and the group

These are tough times in our country, culturally. During the past 4 years, (and I'm afraid for at least the next 4 years), we've been experiencing a cultural wasteland - a time when we get advertisements shoved at us at the movie theaters, most movies (particularly American) have no content whatsoever and demand nothing from the audience (if they are even watchable, which is rare!), when TV is populated by vapid reality shows or propaganda masquerading as news, where black is white, lies are the truth. I am sure some day we will look back and wonder how we lost our way so completely. Yet, out of the murk comes this wonderful piece of music by a group of musicians that clearly believe that art is meant to challenge the people. No, its not little empty sound bites. Yes, it takes time to absorb...it demands and rewards repeated listens. The reward is over an hour of creativity, joy, and an experience that is life-enriching. I've only listened to this CD 4-5 times, but I connected with it immediately. It is the first piece of new music that I've craved in a very long time. I own everything Pat Metheny has recorded, discovering him while at Graduate school back in 1978, starting with the White Album....I've seem him in concert over a dozen times. Though I enjoy all of his music, this is the PMG album that I've been waiting for since The First Circle - since that CD, with the exception of Secret Story, I've felt that there is so much more for him/his group to say than his recent CDs have shown. And, this CD proves it. Challenge yourself, take some quality time and spend it with this music. Your life will be better for it.

Having listened a few more times after posting the above, here are a few signposts for working through the piece:

Opening/Part 1:

From the start till about 37 second in is an interesting pulse which reminds me very much of the music of Steve Reich, especially in his Music for 18 Musicians on ECM (in fact, there are echoes of several ECM artists in this CD; I read that Pat and the group listened through their entire catalog prior to making this CD...I wonder if they also listened to a sampling of the better known ECMs as well!).

The rest of the opening, running through to about 4:20, presents a series of themes, some of which will be repeated later on - layered guitar, some harmonica, a very retro sounding synth line (American Garage vintage?!), a bit of doubling harmonica, and some distorted slide guitar.

There is a lovely acoustic guitar interlude at 4:20; at 5:15 the next episode begins with what sounds like a Kalimba - a distorted lead guitar solo follows, with doubling trumpet and occasionally harmonica. A key climax point happens in the section that runs between 8:25 and 10:25 - a very complex part. A second climax occurs during a call and response section with the trumpet between 10:25 and 11:25.

The music calms and takes a breath between 11:25 and 14:00 - after a percussive effect, there is a new theme on acoustic guitar, with harmonica doubling, then trumpet tripling, and includes a nice acoustic piano solo.

After a different acoustic effect at 14:00 - reminding me of Steve Tibbetts - a long section of straight jazz ensues - with a few varying episodes in between. The first few minutes, with solo guitar and following trumpet, are very Kenny Wheeler-like. An acoustic interlude reminds me of Eberhard Weber, another great ECM artist - then a section that completely blows me away, the unison runs of guitar and trumpet between 16:20 and 17:20...after a bit more acoustic guitar and Kalimba comes more swinging jazz, guitar with doubling harmonica - great bass playing - a fine piano solo, then a trumpet solo, a synth guitar solo which, at 26:10, moves into a beautiful acoustic guitar solo (reminds me of early Pat)...a few more changes between previously introduced themes and fast runs ends in a rare but very effective drum solo as this section ends at 31:45.

Part 2 has an unusual opening - plucked acoustic chords with a Weber-like bass line, a mournful trumpet solo, then a section that almost reminds me of Solstice vintage Ralph Towner. At 3:40, a stunning calm section ensues with lovely piano soloing over pulsing acoustic guitar, very spare indeed. Then, at 6:30, rapid pulsing begins, trumpet comes in...this is the most playful, loud section, with trumpet and distorted electric guitars, bass thrusts, guitar synth - all delightfully chaotic and abstract. At 12:00, back to fingered acoustic chords with an almost Berimbau effect - reminding of Nana Vasconcelos and the Wichita CD - then a superb, long harmonica solo (13:00-17:50) - which moves abruptly into a syncopated transition which takes us to the end of part 2.

Part 3 is the shortest portion, and really sets out to resolve the whole - there are nice solos on guitar, piano, guitar synth, bowed bass - then for the first time wordless vocals circa the song The First Cirle, which pulls everything together. At 7 minutes, we return to acoustic guitar, peacefulness, ambient sounds, and echoes of all that has gone on before...

Throughout there is amazing complexity and layering - subliminal effects, distant traffic noise, scrapings on guitar strings, solo lines passing to any number of guitars - giving listeners to much to absorb, and guaranteeing that there will always be something to discover in this piece.

What a journey!

Let me start of by saying that almost all of my favorite songs did not hit me with much impact upon the first listening. I think most can agree that it takes time to pick up on and gain a sense of an overall composition especially music with a broad melodic canvas. That being said, I find 4-5 listens as a good guide for me to gain an overall sense of a song or album - that was of course until I heard THE WAY UP. This ONE song runs 68 minutes. Needless to say after repeated listens, I was still a little lost. I can't emphasize enough, there's a lot to take in here. I bought the album when it first came out and had tickets to see PMG for the second show of their current tour in Toronto. Two weeks before the show, I buckled down and listed to The Way Up the entire time. The timing was perfect because it hit me about a day before the show and then to see them play it live just added and expanded the whole experience. Truly, one of the best and most ambitious PMG albums to date, but bear in mind, this album is not for the impatient. I think that was one of the themes of this album (judging from what I've read from the web site) - a protest against the 'sound bite'. This song is like a great book... with every listen you pick up something new or gain a new understanding and appreciation that underlines what you knew before.

I'm late kicking in my two cents, but after reading some of the silly commments posted here I had to chime in. I've been a fan of Metheny all along, enjoying some recordings more than others. Even when freshness seemed lacking at times, the brilliant musicianship and melodic gift were always there. Then along comes The Way Up, to me a defining moment in the already remarkable life of the PMG. The length and richness of the longform piece enables the full exploration of ideas and landscapes that is never quite possible in the typical 5-8 minute album cut. It's an absolutely beautiful piece and recording with so many satisfying turns. It's a symphony, PMG style. It is not about being jazz, or rock, or fusion, or folk, or any other restrictive term some people always seem to need to apply to things. It is about pure inspiration performed by masterful musicians. It takes both a mastery of one's tools and art form and a humble awareness of the true origin of all inspiration to discern, record and perform great art such as this. That is what happened here, and there are many of us who are profoundly grateful for the gift the Pat Metheny Group has given us with The Way Up.

I'm a huge Pat Metheny fan, and a fan of PMG too. But I must admit that when I first listened to this I thought it might just be a bunch PMG clichés pieced together with some extraordinary production; possibly even over produced. After a few listens, the theme would not leave my brain, and little niceties here and there were begging to be heard again. I enjoyed the recording very much after the third listen.

But everything changed completely after I saw them live in San Diego at the Speckles Theater; this isn't over produced wizardry and tricks, they can do this entire piece live, and it was much much better still. Truly unbelievable; the audience was completely stunned by the end of the second movement. When the band actually stopped playing after 70 minutes straight the place exploded! I think even the band was a little shocked at all the noise and the standing ovation. I had not planned to go nuts, but it was spontaneous; folks really didn't know where to put themselves. It was truly something; and then the band played for another hour non-stop.

Now that I know this is not all just slick production, the album means a whole lot more. This is quite an accomplishment of composition and musicianship. Bravo gentlemen.

As a 30 year fan of Pat Metheny's music, I was pleasantly surprised by this recording. Ever since first hearing the contributions he made to Gary Burton's music back in the 70's, Metheny has always strived to be innovative and original. He has grown to be one of the most recognized sounds in Jazz & he keeps growing as an artist. This recording takes his group to the next level.

Using four distinct parts to break up the 68 minute epic composition, Metheny manages to offer the listener a detailed tour through his past musical terrains while showing you new and different sights & sounds. Witness his edgier guitar tone and how he locks horns with Trumpeter Cuong Vu in Part Two. I love the digital circus sound at 18 minutes into part two - very original to mix trumpet & harmonica against a textured background. The constant shifting of moods & textures are brilliant. Part Three revisits the "First Circle" 1980's period of the groups' development before returing to the beautiful 2005 melody stated in Part Two. Lyle Mays offers some great linkages to transition the pieces to their next stage of development. This is very dynamic music and you have to hear it more than once to appreciate the beauty. After my third listen,I was completely hooked. I recommend you turn up the volume to really feel the full effect. When the music finally ends, you feel like you have traveled to a new, yet familiar place. What a great trip.

I once read a Metheny article in Downbeat where he stated that Jazz was a dynamic & living music that reflected the present state of the artist's life. If innovation is the true tradition of Jazz, then Pat Metheny has succeeded in painting a very colorful tapestry of his life - and I give him five stars for presenting it in such a bold and unique way. This music is emotional, moody & full of reflection. I hope you enjoy the journey as much as I have. Peace!

The Pat Metheny Group has been around in one form or another for over 25 years. In that time, they've released albums that, while definitely in the jazz tradition, incorporate a myriad of musical styles and utterly defy categorization. Latin, pop, country, rock, hip-hop, you name it and chances are Pat Metheny and company have explored it. Very rarely does the group repeat itself musically; and consecutive albums, while containing recognizable elements, often vary wildly.

All of this brings us to the group's latest effort, "The Way Up", a 68 minute CD that is essentially one long song made up of many melodies, rhythms, improvisational solos and moods, all unified with a clearly recognizable theme that keeps cropping up. If you equate jazz (or good music for that matter) with Kenny G, Boney James, or their smooth ilk, then this album is likely to whiz right over your head and leave you wondering what all the fuss is about. The length of the composition is a daring (though some might also say futile) attempt by the group to give listeners something deeper and more meaningful that the usual 4 minute soundbites we're spoon-fed these days. It forces you to stop what you're doing and pay attention to what's being played. As others in this forum have pointed out, "The Way Up" is a challenging CD; but if you invest the time to explore what it has to offer you'll be treated to some amazing playing by a group of gifted musicians. Pat Metheny plays about a half dozen different guitars during the course of the CD, often layering them over one another. Longtime collaborator Lyle Mays deftly uses his keyboards to weave intricate solos. Steve Rodby's bass and Antonio Sanchez's drums provide lush and ever-changing rhythms to drive the music. And Cuong Vu on trumpet and newcomer Gregoire Maret on harmonica round out the group with stirring solos and musical textures.

Somebody who is unfamiliar with Pat Metheny's body of work might look at all the glowing reviews "The Way Up" is getting on Amazon and wonder, is the album really that good or are these the musings of PMG deadheads, unthinkingly praising his every note? For my money, it really is that good; the music is very dense and the more you listen to it, the more you pick up (another Metheny staple). Do yourself a favor; pick up the CD, turn out the lights and listen to it through a good set of headphones. You'll be surprised, then you'll be amazed and then you'll be hooked, just like the rest of us.