IN CELEBRATION OF PAT'S BIRTHDAY THIS WEEK, HERE ARE SOME STORIES FROM PRESS AROUND THE WORLD...
Rzecspospolita - Largest newspaper in Poland (Google translation)
Jubilant, Valued and Worshipped
American guitarist Pat Metheny will be on August 12, 60 years old - very few jazzmen of an ambitious music has reached such popularity as he - says Marek Soul.
Pat Metheny appreciates his fans in Poland since the early 90s. Pat concerts gives his all, his performances last up to three hours. When planning to release a new album, arrives in Warsaw for several sessions of talks with journalists of different media. Interestingly, it is able to differentiate their answers that we do not find two identical answers to similar questions yet. A conversation that he knows everything about music and willing to share this knowledge divides.
Pat says. "Everything I do from the album "Bright Size Life" today, I treat as a single work divided into chapters. My work flows like a river into which I can jump in different places. On the first album I set the direction of his artistic career. "Kin" is continuation of the "Bright Size Life", in which I described the style of the composition, method of improvisation. Each of my album is like building a house consisting of floors, rooms, bathrooms and kitchens. Each time it's the other rooms, and even with the outside the building looks differently each time. I feel no restrictions on the establishment, I can follow in any direction. knowledge about the world that I gain every day, I try to express in music...."
Pat Metheny is a perfectionist. Tune-up your albums, and his virtuosity is constantly evolving. Interestingly guided his career. First it was focused on the Pat Metheny Group and wrote for her catchy themes. Thanks gained a large audience, which to this day keeps track of his music, it comes on every concert, buy every new album. Now you can afford to experiment like "Orchestrion" or ambitious improvisations with Brad Mehldau and Unity Band.
But even when playing difficult chords, echoes in their ear friendly note. Play us as long as Pat, happy birthday!
MANNHEIMER MORGEN - GERMANY
The Forever Young "Johnny B. Goode" of jazz
by Georg Spindler
He is somehow the same: With its lion's mane (which, admittedly, a few strands of gray has), the inevitable striped T-shirt and jeans looks Pat Metheny, who celebrates his 60th birthday today, still like the golden boy, as he was abruptly announced in mid-70s.
Already on his epochal debut album "Bright Size Life" (1976, recorded with another shooting star, Jaco on bass) left the country boy from Missouri sit up by its crystal clear, melodic improvisation lines. The hearing itself, than play as a jazz guitar in the spirit of Chuck Berry's song figure "Johnny B. Goode", who had his instrument supposedly ringing like a bell.
Metheny's style had nothing in itself from the soulless speed sprints, which then set the tone for the heyday of fusion music. Early on, he distinguished himself as a tone-poet who was able to intone ballads with comforting campfire intimacy. As a soloist and with his Pat Metheny Group, he brought back to the jazz-rock genre a sense of proportion and melodic complacency.
Sometimes grazed his music in the 80s and 90s but also the limit for something less, but then especially in its full-length three-hour concerts then unfolded the sound magician opulent sound panopticon, which differs from country idylls and rock riffs via samba exotic and swinging jazz to atonal free-tensioned excesses (the album "Travels", 1983, gives an idea).
Today Metheny is one of the two or three major guitarists of the current jazz. He continues enthusiastically as at Enjoy Jazz 2011 in Ludwigshafen with a improvisatory Fabuliergabe that is unparalleled, as a virtuoso of almost superhuman stature. Nevertheless, he has the gift retained to trickle tones full of sensibility on the fingerboard. The campfire sound still warms the souls of his fans.
WESTDEUTSCHE ZEITUNG - GERMANY
Perpetual striped shirt - jazz musician Pat Metheny is 60
Berlin (dpa) - The timeless music, the musician graying. Do not worry.
Pat Metheny - curly hair as before, only the notorious striped jumper spans now a little - are up on stage today, which expect no less graying fans: caught up in the solo, eyes closed, fingers on the guitar strings, which hasten away to the human eye. Pat Metheny, one of the most important, style-forming of modern jazz guitarist, will today, 12 August, 60 years old.
His latest project, the Pat Metheny Unity Group, testifies ideas and playful force. The tour this year and the associated disk "Kin" have received a lot of praise. Metheny, whose sometimes pleasing catalog can also be heard in department store elevators, dental offices and spas, has a definition - it - demanding group gathered around him: saxophonist Chris Potter, bassist Ben Williams, drummer Antonio Sanchez and multi-instrumentalist Guilio Carmassi. In the studio and on stage they play confidently what jazz has shown in the past five decades, the audience directions. And unpretentious middle of it: The Master.
And logical shifts Metheny its limits, scared the followers, makes plain what he wants. There he goes with a Music Machine on tour ("Orchestrion" / 2010), playing with Ornette Coleman, a godfather of the free-jazz musicians ("Song X" / 1986), is the Polish singer Anna Maria Jopek be backup ("Upojenie »/ 2002). Metheny wrote film scores: "The Falcon and the Snowman" - David Bowie sings "This Is Not America" / 1985 - and "Passaggio per il Paradiso" (1997) are also included.
Perhaps one of the most beautiful slices - to take away on the island - Metheny has recorded with the recently deceased bassist Charlie Haden: "Beyond the Missouri Sky" (1997). The friends had played repeatedly in various formations together. But together they show what they are capable of poetry. Magical songs, touching, swinging - like "The Moon is a Harsh Mistress": all time indicated.
THE DAILY TELEGRAPH (London)
At 60, guitarist Pat Metheny is proving with his Unity Group that he is still a creative force in jazz
There is a telling moment in one of Elvis Costello's Spectacle TV shows: when former US president Bill Clinton, a keen jazz saxophonist, watches in rapt admiration as Pat Metheny plays the composition Is This America?.
Metheny, who has won 20 Grammy Awards in 12 different categories including best rock instrumental and best contemporary jazz recording, is 60 today and still producing some of the most innovative music in jazz.
Metheny, who was born in Kansas City on August 12, 1954, is rightly celebrated for his mastery of the guitar and harmonic subtlety but three of his musical heroes are jazz trumpeters: Clifford Brown, Miles Davis and Freddie Hubbard. "Somehow trumpet is the reference point for me – it was actually my first instrument," he once said. Metheny, who started on trumpet at eight (following his elder brother Mike, who is a fine trumpet and flugelhorn player), switched to guitar at the age of 12.
Over the years, he has performed with artists as diverse as Steve Reich, Ornette Coleman, Herbie Hancock, Jim Hall, Milton Nascimento, Joni Mitchell and David Bowie. His body of work includes compositions for solo guitar, small ensembles, electric and acoustic instruments, large orchestras, and ballet pieces, with settings ranging from modern jazz to rock to classical. His versatility is stunning and reflects his belief that "music is one big thing".
For jazz fans, he has been a magnificent improviser. "I think jazz is actually quite unforgiving in its disdain for nostalgia. It demands creativity and change at its highest level," he remarked. That quest for creativity has blossomed in the past two years with his work with the Pat Metheny Unity Group, which comprises the saxophone maestro Chris Potter, bassist Ben Williams and long-time Metheny associate Antonio Sanchez on drums. After a Grammy-winning debut album and the group recently released its second album, Kin. They are scheduled to tour Japan and Australia this autumn.
~ Martin Chilton
August 12, 2014
Pat Metheny: 10 of the best
Here, to celebrate the jazz guitarist turning 60, are 10 of his greatest musical moments, from samba-tinged Beatles, to TV-ad favourites, to noise wigouts.
1 And I Love Her (live)
Metheny was inspired to pick up a guitar by the Beatles, watching A Hard Day’s Night 15 times as an 11-year-old. By the age of 14 he’d heard Wes Montgomery and consciously rejected rock music for jazz. It’s taken him a few decades to reconnect with his first love, and many of his recent albums feature elegant reworkings of his favourite pop songs. This is a gorgeous, bossa-tinged, reverb-drenched version of Paul McCartney’s ballad, caressed on a nylon-strung acoustic and inspired by Al Di Meola’s version.
2 Bright Size Life
Metheny was a teenage prodigy. A few months into a music course at the University of Miami, the music department realised that he was already a better guitarist than anyone on the staff and gave him a teaching job when he was only 17. In 1973, aged 19, he was a faculty member at the prestigious Berklee School of Music. A year later, he was recruited by the vibraphone virtuoso Gary Burton. His first LP as a leader is a spartan, noisy trio session grounded by Jaco Pastorius’s grinding fretless bass, while drummer Bob Moses flails entertainingly behind them. Metheny’s trademark tone – clean, frictionless and sustained with a touch of digital delay – is already evident.
3 As Falls Wichita
After touring with Joni Mitchell’s heavyweight jazz band and recording a straight-ahead jazz album with Michael Brecker, Dewey Redman and Charlie Haden, Metheny defied expectations with an ambient album. As Falls Wichita, So Falls Wichita Falls is officially a duet album with keyboardist Lyle Mays – with Metheny overdubbing assorted guitars and basses – while Brazilian percussionist Nana Vasconcelos adds some crucial textures on assorted African, Indian and Latin American percussion. This lengthy opening track, which takes up the entire first side of the LP, is a spine-tingling palimpsest of ghostly conversations, sepulchral organ chords, zither-like guitars and folksy melodies.
4 Are You Going With Me
It was on 1982’s Offramp that Metheny really developed his facility for writing a killer pop hook. Are You Going With Me has since become something of an anthem, a song with which he’ll often end his shows. Written by Metheny and Mays on a Synclavier, it features a lengthy solo from Metheny on a Roland GR-300 guitar synthesiser, first (from 2’06”) sounding like a harmonica and then (from 3’45”) then like a particularly nimble Stylophone. Metheny also reworked the song 20 years later with the Polish singer Anna Maria Jopek as part of the Upojenie project as a kind of electronic world-music groove.
5 Last Train Home
The Pat Metheny Group’s Geffen debut in 1987 saw them continue the samba-tinged light rock, with songs such as Minuana (six-eight) and Third Wind remaining a fixture of his set list to this day. The highlight of the album was this undeniably infectious piece, set to a chugging drum pattern and featuring Metheny on a treated guitar that resembles a sitar. The melody and chord changes are strong enough to sustain repetition in other contexts – Metheny would revive it for solo acoustic guitar on the 2003 album One Quiet Night – but it’s this relentless version that would end up being used for numerous US TV advertisements, radio theme tunes and as incidental film music.
6 Tell Me Where You’re Going (with Silje)
This 1990 collaboration with Norwegian singer Silje Nergaard was only a minor hit in the UK (hanging around the lower reaches of the chart for much of 1990 before peaking at No 55 in January 1991), but it went to No 1 in Japan, top five in Norway and top 10 in dozens of other territories. It sees Metheny doubling up on 12-string guitar as well as providing a smooth, frictionless obbligatos. It wasn’t his first flirtation with the singles chart: Metheny’s biggest hit was a 1985 collaboration with David Bowie, This Is Not America, the theme to the The Falcon and the Snowman, which reached No 14 on the UK chart.
7 Zero Tolerance for Silence, Part IV of V
Metheny’s first foray into the punk/jazz continuum comes with the enthusiastic endorsement of Sonic Youth’s Thurston Moore emblazoned on the cover. Zero Tolerance for Silence is split into five parts and sees Metheny overdubbing layer upon layer of guitar, adding a rare distortion to his tone. Part IV is a straightforward boogie that’s played as a chorale: each layer of guitar arrives four bars after the last, until there’s more than a dozen separate guitar parts being played simultaneously. You half expect Captain Beefheart to start grunting halfway through. Metheny continues to dip into noisenik territory – 1996’s collaboration with the Yorkshire avant-garde guitarist Derek Bailey, The Sign of Four (Knitting Factory) is an unremittingly intense three-CD set. Sadly, none of it is on YouTube.
8 Giant Steps
As a rejoinder for those who doubt Metheny’s jazz chops, here he is playing a wonderfully spacious, bossa-tinged version of Coltrane’s classic. The definitive version is on his 2000 trio album, alongside bassist Larry Grenadier and drummer Bill Stewart. This is a similar version recorded for Swedish TV in 2003, featuring Karl-Martin Almqvist on tenor, Leszek Możdżer on piano, Lars Danielsson on bass and Wolfgang Haffner on drums.
9 The Sound of Water
Metheny has been grappling with curious harp guitars since he was a student, most notably on his 1979 solo album, New Chautauqua. In 1984, the Canadian luthier Linda Manzer designed him a fantastical-looking 42-string guitar harp. It’s called the “Pikasso” because it resembles a Cubist portrait of a guitar, with three overlapping fretboards refracted from a body that looks like a normal acoustic guitar viewed through two pairs of bifocals. This track, a standout from Metheny’s two albums with the pianist Brad Mehldau, sees him sounding he’s playing a Japanese koto, a zither, a harp and a double bass all at once – and that’s even before Mehldau joins in at 5’25” with a jabbering piano counterpoint.
10 Is This America
One of Metheny’s simplest and most beautiful melodies, Is This America is a paean to the victims of Hurricane Katrina originally released on his 2008 album Day Trip. He reprised it on Elvis Costello’s Spectacle in December 2008, as Bill Clinton looked on approvingly. While the original album saw Metheny backed by bassist Christian McBride and drummer Antonio Sanchez, here he was accompanied by the late, great bassist Charlie Haden, with whom he recorded one of his finest albums, 1997’s Beyond the Missouri Sky.