The Pat Metheny Discography Thread: Unity Band (2012)

[darkshade]

That was some of the most subtle synthesizer playing I've ever heard. Loved the way a synth note would start out small and slowly crescendo.

So far the appeal of Metheny's music is the textures created between him and his band. The smooth jazz comparison is being thrown around a lot here but I think this is where the distinction starts. Most smooth jazz sounds hollow and artificial to me. I'm not sure how to describe it, but it's almost like it's not music meant to be listened to, but something to throw on as a background at parties or on a TV show. You can use Metheny as background music too I suppose, but even when I was listening to this album while browsing the internet there were many moments that grabbed me and caused me to devote all my attention to the music. It doesn't sound complicated the way Frank Zappa or Dream Theater does, but it's very hypnotic.

Lots of versatility in Pat's playing too. He plays with a lot of restraint usually, but it's cool hearing him shred like on Lone Jack.

It is not smooth jazz. It's more in some of the textures, which have influenced future smooth jazz artists I'm sure, since smooth jazz was still in its infancy when PMG was released in 1978. The band became very successful, thus commercial (smooth) jazz stations played Pat Metheny's music a lot, and still do to this day.

The only Pat Metheny Group album that really walks a fine line between smooth jazz and sophisticated jazz-fusion is 'We Live Here', but even that album is way more than what an untrained ear would perceive as smooth. It contains some of the Group's best work.

[darkshade]

Pat Metheny - New Chautaugua (1979)



Side I

1.    "New Chautauqua"    5:19
2.    "Country Poem"    2:34
3.    "Long-Ago Child/Fallen Star"    10:19

Side II

4.    "Hermitage"    5:39
5.    "Sueño con Mexico"    5:59
6.    "Daybreak"    8:38

    Pat Metheny – electric 6- and 12-string guitars, acoustic guitar, 15-string harp guitar, electric bass

Pat Metheny's 1979 solo album New Chautaugua is a true solo album. He is the only musician on the album, playing all guitars and bass. Metheny plays all the instruments: 6- and 12-string acoustic guitars, electric guitar, harp guitar, and a fretless Fender bass which Jaco Pastorius put together for him, and which Mark Egan was to use later on the next Pat Metheny Group album. There are no drums, but they are not missed. However, you don't go into this album expecting prog/fusion, like you don't go into Opeth's Damnation album expecting harsh vocals and extremely heavy riffs (and there are moments on this album that sort of remind me of mellow Opeth songs.)

This is a more laid back, relaxed album, but not dull, and plenty for guitarists to chew on. Lots of acoustics. Pat's playing overall sounds more confident, listen to the opening title track. Pat plays some great melodies and sweet solo, his tone is starting to improve, not to mention his style is growing and gaining more charisma. I would love to hear a version of the title track WITH drums, though, I think it would be awesome. It's a classic Metheny tune. The next two tracks are more mellow, Country Poem has a nice vibe, feels like standing in a field on a warm sunny day. Long-Ago Child/Fallen Star has a Watercolors feel to it, Pat still experimenting with that introspective, "wet" watery sound. This one is ten minutes long, very deep sounding, almost meditative. It almost sounds like going back to prehistoric times, if that makes sense. This is a bit of a darker piece.

Side two opens with Hermitage, bringing back strong Metheny melodies. Speaking of This music is the core of Pat's sound, that Wes Montgomery, Jim Hall inspired sound, with a Midwestern background and jazz-fusion tendencies, all mixed in one, with an ear for catchy melodies. Even Pat's bass playing is inspired by Jaco, or maybe it's because Jaco made the fretless bass that Pat is playing on this album. Next is Sueño Con México, a piece that is very emotional sounding, it kind of tugs on your heartstrings. A lot of Pat's music does this, his music reflects emotions that most men can't, won't, or don't know how to convey, in both music and socially. Some of his music is not something you may want to listen to if you just recently broke up with someone, or lost a job; but on the flip side, a lot of his music is also celebratory, so it can make you feel like everything is right with the universe, if you're in a good mood or if life is going well. The final piece, Daybreak, starts with Pat on clean electric guitar. The mood is light, introspective again, but if you pay attention to what Pat is actually playing, you'll realize he is already a master guitarist at this point. A lot of what he is playing is complex, either in the chord structures, or the fact that he is playing basslines, chords, and lead melodies all at once. Then suddenly, more guitars, and bass, show up, and the mood turns very positive and upbeat, Pat starts playing very bright colorful melodies, leaving the listener on a good note. All is right again in the universe.

[Mosh]

Somehow I keep missing these posts even though I'm subscribed to this topic. Going to try and listen to this tonight.

[ReaperKK]

Just listened to New Chautauqua and I really enjoyed it. Hernitage is probably my favorite. I know this album came long before Buckethead but the lack of drums reminded me of Electric Tears

[Mosh]

Cool album. Interesting that it's pretty much just guitar. Not sure if I'd ever go back to it but it was an enjoyable listen. I prefer Jazz with multiple musicians. The appeal has always been the interaction between players. Virtuoso by Joe Pass is another classic album that, while I enjoy it, I don't hold it in the same regard as most people because I can only enjoy so much solo guitar.

[darkshade]

Cool album. Interesting that it's pretty much just guitar. Not sure if I'd ever go back to it but it was an enjoyable listen. I prefer Jazz with multiple musicians. The appeal has always been the interaction between players. Virtuoso by Joe Pass is another classic album that, while I enjoy it, I don't hold it in the same regard as most people because I can only enjoy so much solo guitar.

Thankfully Pat only did a few more like this over the years, and I think they were all duos with another musician. Most of Pat's work is trio, quartet, band, group, or large group work.

[Mosh]

Well the duos are cool too. That first album could've just been Pat and Jaco and it would still be awesome.

[darkshade]

OK, time to move on.

Pat Metheny Group - American Garage (1979)



Side 1

1.    "(Cross the) Heartland"    6:55
2.    "Airstream"    6:20
3.    "The Search"    4:54

Side 2

4.    "American Garage"    4:13
5.    "The Epic"    12:59


    Pat Metheny – 6- and 12-string electric and acoustic guitars
    Lyle Mays – piano, Oberheim synthesizer, autoharp, electric organ
    Mark Egan – electric bass
    Dan Gottlieb – drums


Released later in 1979 following New Chautaugua, the second Pat Metheny Group album is a little more progressive, lots of Jaco-esque stuff too. Pat lays down some catchy melodies. This could be seen as Bright Size Life 2, but with more piano and keys. This is the first PMG album where we hear some signature sounds coming from Lyle Mays, who also shares equal writing credits with Pat. Lots more synths incorporated than on the self titled or Watercolors. Lyle's piano is of course all over and it is beautiful. Pat's is also really coming together on this album. More confidence, his tone is not as watery, not overly bright like on the earlier albums. The music is a continuation of the first PMG album, lots of jazzy prog rock with a heartfelt touch. Some stuff even reminds me of classic 70s prog ala Camel or Genesis, like in The Search, or The Epic, which has a lot going on and require more than one listen to 'get'.

The opener (Cross The) Heartland has that driving through the mid-west feel, and was actually a big hit on the radio for a while in the late 70s/early 80s. This album is where Pat Metheny's canon starts getting more interesting, so hang in there guys!

[darkshade]

Bump. Is anyone interested anymore?

[Mosh]

Going to get to this today.

[darkshade]

This is where the Pat Metheny discography starts getting real good.

[Orbert]

I'm still reading and following, but I've been insanely busy with a couple of musical projects, plus on the road for five days last week.  I don't have time to listen properly (what little time I have has to be spent on songs for the upcoming gig), so I can't comment on the tunes, but I still like getting the background and comments regarding each release.

It's tough running a discography for a lesser-known artist.  But be assured, your time and words are not going to waste.

[SoundscapeMN]

still following. I guess my experience starts more so with the 80's stuff, so I'll have more to add coming soon.

Paul Wertico has something to do with that.

[Mosh]

The intro is very proggy sounding. Kinda like Mike Oldfield or, as you mentioned, Camel. Definitely a Jaco esque groove when it gets going, but the whole arrangement and melody is very Weather Report in general IMO.

Good album. What makes Metheny unique for me is his midwest Americana sound mixed with coastal Jazz and even European prog influences. It's a unique blend and you hear it all over this album.

[ReaperKK]

I'm still interested!

[darkshade]

Pat Metheny  - 80/81 (1980)


1.    "Two Folk Songs: One / Two"    20:52
2.    "Every Day (I Thank You)"    13:21
3.    "Goin' Ahead"    3:51
4.    "80/81"    7:34
5.    "The Bat"    6:05
6.    "Turnaround"    7:04

(The vinyl version has a different track order, and has more music, since a CD can only hold 80 minutes and the original version was just over 80 minutes. I have a digital version containing all songs, and in the original order. Missing tracks are "Open" and "Pretty Scattered") Check here for more info: https://en.wikipedia.org/wiki/80/81

    Pat Metheny – acoustic and electric guitars
    Charlie Haden – acoustic bass
    Jack DeJohnette – drums
    Michael Brecker – tenor saxophone
    Dewey Redman – tenor saxophone

This album contains an all-star line up of jazz greats, incluing Dewey Redman, father of Joshua Redman. This is an album of post-bop and folk jazz, so don't expect the prog jazz of Pat Metheny Group. This isn't an album I listen to often, but it's a good album. Very summer-y sounding, and there's a lot of different things going on. If you're familiar with any of the musician's work, you have a general idea of what to expect here, but with Metheny covering most writing credits, it's still all about him, and he brings in that Mid-Western feel with Haden and DeJohnette's more avant-garde, post-bop tendencies, and of course Michael Brecker is one of the best jazz saxophonists of all time so there is no shortage of great sax parts here. He and Dewey Redman share sax duties, check out the wiki page for more details about it and the track listing issue I mentioned before. https://en.wikipedia.org/wiki/80/81 Be aware of The Bat, this tune was revisited by The Pat Metheny Group later on, and a sequel was made (The Bat part II) but we'll get to more of that later.

[Mosh]

This is the only Pat Metheny album I'm familiar with. Bought the record on a whim after reading the lineup on the cover. Pat Metheny, Charlie Haden, Jack Dejohnette, and Mike Brecker on the same album? I had to have it. I was really into Dejohnette and Brecker in particular at the time. Looking forward to revisiting it in context with the rest of his work.

[ReaperKK]

Going to check it out today at work and I'll report back my thoughts

[darkshade]

Yes, this lineup is as good as it sounds. The music has more acoustic guitar than you think, it gives it that Midwestern feel again. This album sort of has 'rock' moments, in the way some of the rhythms go. Jack DeJohnette lays down crazy accents throughout. Funny that this album is Pat's album, he wrote most of the music, but to me the sax players steal the show, and the rhythm section really shines.

[Mosh]

I like this album but it is a fairly exhausting listen. Luckily there's some variety. The highlight is definitely Two Folk Songs and I also enjoy some of the more traditional jazz/blues stuff on here. I also dig the solo acoustic piece at the end. Agreed that the sax players steal the show. Michael Brecker was a master at going outside what you would expect from traditional sax playing, but doing so in such a way that most people wouldn't even notice. I never made the connection that Dewey Redman is Joshua's father, so that's a cool piece of trivia. Joshua is one of the best players out there today. Highly recommend his collaboration with The Bad Plus.

[SoundscapeMN]

bump.

Rest in Peace Lyle Mays, longtime keyboardist for Pat Metheny.

 

https://www.patmetheny.com/news/full_display.cfm?id=137

2.10.2020

It is with great sadness that we have to report the passing of our friend and brother, Lyle Mays (1953-2020). He passed today in Los Angeles after a long battle with a recurring illness, surrounded by loved ones.

 Pat Metheny: “Lyle was one of the greatest musicians I have ever known. Across more than 30 years, every moment we shared in music was special. From the first notes we played together, we had an immediate bond. His broad intelligence and musical wisdom informed every aspect of who he was in every way. I will miss him with all my heart.”

 Steve Rodby: “I had the great privilege of having Lyle in my life for decades, as an inspiration and as my friend. As anyone who knew him and his music will agree, there will only be one Lyle, and we all will continue to appreciate his soulful brilliance, in so many ways.”

 His beloved niece, Aubrey Johnson: “Lyle was a brilliant musician and person, and a genius in every sense of the word. He was my dear uncle, mentor, and friend and words cannot express the depth of my grief.”

 At this time, there are no details regarding a memorial service. In lieu of flowers, the family asks that contributions be made to the Caltech Fund.

[Orbert]

I saw that. I was going to post something here, but didn't know how many people here had even heard of Lyle Mays.  I totally forgot about this thread, which Lyle is (was?) a big part of.

[Nekov]

Wow, that is some sad news. My favorite album from Pat is As falls Wichita, so falls Wichita Falls which is as much a Lyle Mays album. 2020 is being relentless 

[SoundscapeMN]

FROM THIS PLACE
 
love the way the orchestral/chamber instrumentation is arranged. Maybe his best since 2005's "The Way Up"

some great, magical moments on this, even with it's 77+ minute length. Reminds me at times of how I fell in love with Pat Metheny's music many years ago.

[Fritzinger]

The vinyl is in mail somewhere, on the way to me! Very excited for this album.

I also always loved the contributions by the mighty Lyle Mays, I always felt they made Pat's music complete. I hope that From This Place will be a great album, even without Lyle (I haven't listened to the Unity Band albums that often).

Talking about The Way Up. I think that is Pat's greatest album and truly the peak of The Pat Metheny Group. Still, I would love a new album by the band, although I don't see that happen without Lyle.

[Max Kuehnau]

The vinyl is in mail somewhere, on the way to me! Very excited for this album.

I also always loved the contributions by the mighty Lyle Mays, I always felt they made Pat's music complete. I hope that From This Place will be a great album, even without Lyle (I haven't listened to the Unity Band albums that often).

Talking about The Way Up. I think that is Pat's greatest album and truly the peak of The Pat Metheny Group. Still, I would love a new album by the band, although I don't see that happen without Lyle.

Lyle was my favourite member of PMG (says a drummer, oh dear oh dear) , back on topic: I like the new album (great cover photo as well IMHO)

[Fritzinger]

The vinyl is in mail somewhere, on the way to me! Very excited for this album.

I also always loved the contributions by the mighty Lyle Mays, I always felt they made Pat's music complete. I hope that From This Place will be a great album, even without Lyle (I haven't listened to the Unity Band albums that often).

Talking about The Way Up. I think that is Pat's greatest album and truly the peak of The Pat Metheny Group. Still, I would love a new album by the band, although I don't see that happen without Lyle.

Lyle was my favourite member of PMG (says a drummer, oh dear oh dear) , back on topic: I like the new album (great cover photo as well IMHO)

Please give me a little review while I have to wait 

[Max Kuehnau]

The vinyl is in mail somewhere, on the way to me! Very excited for this album.

I also always loved the contributions by the mighty Lyle Mays, I always felt they made Pat's music complete. I hope that From This Place will be a great album, even without Lyle (I haven't listened to the Unity Band albums that often).

Talking about The Way Up. I think that is Pat's greatest album and truly the peak of The Pat Metheny Group. Still, I would love a new album by the band, although I don't see that happen without Lyle.

Lyle was my favourite member of PMG (says a drummer, oh dear oh dear) , back on topic: I like the new album (great cover photo as well IMHO)

Please give me a little review while I have to wait 

As you wish:

It's very expansive in its scope (similar to how The Way Up was, but TWU was different of course, with all the nods to Steve Reich), very daring. Pat goes out quite a bit (melodically speaking). The fact that strings are added gives a more "soundtrack-esque" edge to the proceedings at time. You'll love it I would guess. I needed this record from Pat, because just when you think he's done it all, he surprises us with this one.

[Fritzinger]

The vinyl is in mail somewhere, on the way to me! Very excited for this album.

I also always loved the contributions by the mighty Lyle Mays, I always felt they made Pat's music complete. I hope that From This Place will be a great album, even without Lyle (I haven't listened to the Unity Band albums that often).

Talking about The Way Up. I think that is Pat's greatest album and truly the peak of The Pat Metheny Group. Still, I would love a new album by the band, although I don't see that happen without Lyle.

Lyle was my favourite member of PMG (says a drummer, oh dear oh dear) , back on topic: I like the new album (great cover photo as well IMHO)

Please give me a little review while I have to wait 

As you wish:

It's very expansive in its scope (similar to how The Way Up was, but TWU was different of course, with all the nods to Steve Reich), very daring. Pat goes out quite a bit (melodically speaking). The fact that strings are added gives a more "soundtrack-esque" edge to the proceedings at time. You'll love it I would guess. I needed this record from Pat, because just when you think he's done it all, he surprises us with this one.

Holy shit, that sounds awesome. Can't wait for this album to arrive. I have an exam tomorrow and only a few lectures over the rest of the week, so I'll be spinning this album extensively. I am also very excited that this one also seems to feature that soundtrack-esque/strings/world-jazz combination to some extent - a combination that I loved on Secret Story.

[SoundscapeMN]

yes, it totally has a Soundtrack-like vibe throughout, which is another reason I am into it.

I honestly am almost shocked how much I am enjoying this album, after what seemed like vanilla records the last decade, he finally has my head turning again.

[Fritzinger]

The album arrived this morning and I am spinning it for the first time right now! Great string arrangements. And you gotta love Antonio Sanchez' super precise and slim-sounding ride cymbal attacks.

[Fritzinger]

So I have Gavin Harrison's Cheating The Polygraph, Steven Wilson's Catalogue/Preserve/Amass and the Once Upon A Time In Hollywood soundtrack lying here - all new in my collection, but all unlistened to - because From This Place is just gorgeous and it hasn't left my turntable since it arrived. I love that Metheny always manages to make you feel like you've heard a song before, but you really haven't. The more uptempo songs give off a great spring-like feeling, maybe that's why I can't stop listening to them. The string arrangements are subtle and very effective, but never "too much" or corny. Same goes for the melodies: typical for Metheny, they're always memorable but never silly. And what is up with the finale of America Undefined... majestic.

[darkshade]

Wow, I totally forgot about this thread. I got caught up in life, guys. Is anyone interested in continuing this??

FROM THIS PLACE
 
love the way the orchestral/chamber instrumentation is arranged. Maybe his best since 2005's "The Way Up"

some great, magical moments on this, even with it's 77+ minute length. Reminds me at times of how I fell in love with Pat Metheny's music many years ago.

Yea, it's not often an album so long holds my attention throughout. I agree that this is his best album since at least The Way Up fifteen years ago.
The spirit of Lyle Mays can be felt throughout the album, as the pianist on the album reminds me of him a little. The track "Sixty-Six" holds more meaning to me than it just representing Pat being 66 at the time of recording, since Mays died at 66, and the tune is reminiscent of the Pat Metheny Group's biggest hit "Last Train Home" so it feels like a tribute to Pat and Lyle's time together.

[darkshade]

Screw it, I'll try to keep it going.

Where we are at so far

"Jaco" (1974)
Gary Burton Quintet with Eberhard Weber - Ring (1974)
Gary Burton Quintet - Dreams So Real (1975)
Gary Burton Quartet with Eberhard Weber - Passengers (1976)

Bright Size Life (ECM, 1976)
Watercolors (ECM, 1977)
Pat Metheny Group (ECM, 1978)
New Chautauqua (ECM, 1979)
American Garage (ECM, 1979)
80/81 (ECM, 1980)

---------------------------------------------

Pat Metheny & Lyle Mays - As Falls Wichita, So Falls Wichita Falls (1981)



Side one
1.   "As Falls Wichita, So Falls Wichita Falls"   20:44

Side two
1.   "Ozark"   4:03
2.   "September Fifteenth" (dedicated to Bill Evans)   7:45
3.   "'It's for You'"   8:20
4.   "Estupenda Graça"   2:40


    Pat Metheny – electric and acoustic 6- and 12-string guitars, Synclavier II, bass guitar
    Lyle Mays – piano, Prophet 5 & Oberheim FVS synthesizers, Synclavier II, electric organ, autoharp
    Naná Vasconcelos – berimbau, percussion, drums, vocals

This is really a Pat Metheny Group album in disguise, especially when you consider Pat and Lyle wrote most of the music for PMG anyway. This is also the beginning of the world-music phase of Pat and Lyle. Vasconcelos' first appearance here, he would later join the Pat Metheny Group for the next couple of albums. Some say this is Pat's best album, a lot of people who don't generally listen to Pat tend to at least know this album. There is good reason for this, the opening epic title track is captivating to say the least. I think it's one of the best progressive rock epics ever made. It doesn't have all the bombast and pyrotechnics you would expect with a 20 minute epic; instead the music is more ambient, brooding, mysterious, with (*spoiler*) an really uplifting ending. The 2nd side has one of Pat and Lyle's most famous compositions, "It's For You" and has one of Pat's coolest guitar solo moments. "September Fifteenth" has one of the most beautiful passages of music in Lyle's catalog. Heart tugging playing here all around, a real tribute to one of his inspirations and one of the best Jazz pianists, Bill Evans (yes, THE Bill Evans, the one who played with Miles Davis on Kind of Blue.)
Nana's work here is understated, but he brings the Brazilian flavor that is heard on most of Pat's albums throughout the 80s well into the 90s with his percussion and wordless vocals.

[HOF]

Just read my way through this thread. I suppose in order to play along I really ought to start from the beginning of his discography and catch up. But more broadly speaking, is there one defining Metheny album that I should start with? Maybe the first Pat Metheny Group album from the description you gave? This Metheny & Mays album sounds interesting as well.