Pat Metheny – Side Eye III+
Side Eye III+ is the second release from Pat Metheny’s Side-Eye project (here as a trio augmented by a number of additional musicians; hence the + sign).
Designed to showcase an evolving selection of new jazz & fusion talent, 2021’s live recording Side-Eye NYC (V1.IV) featured Metheny with James Francies on keys (Francies guests on one number here) and Marcus Gilmore on drums.
This time around the core trio is Metheny, Chris Fishman (keys) and Joe Dyson (drums) supported by a talented ensemble that includes Daryl Johns (bass), Brandee Younger (harp), Luis Conte (percussion), Vincent Peirani (accordion) and a vocal ensemble led by Mark Kibble of Grammy-winning A Cappella gospel group Take 6.
Opener 'In On It' is an up-tempo offering where keys/ bass/ drums/ percussion provide the backdrop to Pat Metheny’s clean archtop guitar.
Despite the frenetic pace the track has a laid-back and summery, Latin vibe. The ghost of the late Lyle Mays (the brilliant keys foil to Metheny for so many PM Group years) is also evident, while the breakdown provides an opportunity for Metheny to switch to his signature guitar-synth sound and duet with keys player Chris Fishman.
There’s some stellar (and outside) playing here, which segues into a great drum break and effected vocal sequences, interspersed with some effective production techniques.
The number then returns to the initial theme (again at breakneck speed) before reaching its conclusion.
A complex and stunning introduction.
'Don’t Look Down' is a downtempo number with an almost bluesy feel.
Pat Metheny again favours his clean guitar sound including an understated solo, followed by an equally adept piano solo from Fishman.
More choral vocal contributions elevate this cinematic number further before a guitar-synth solo takes us to the finale. The top-notch production on this eleven-minute number (yet never outstaying its welcome) makes this another glorious triumph.
The similarly lengthy 'Make a New World' is sparser than the preceding numbers and has the feeling of a (virtual) smoky jazz club.
The band moves seamlessly between themes, bridges, key changes, accents and sudden breakdowns with the skill and panache that is necessary to pull this off in a convincing manner.
More tasteful choir-like vocal contributions towards the end gives this piece an added spiritual element.
'Urban And Western,' another with a sparse arrangement, has a jazz-blues vibe accentuated by the inclusion of some gospel-like Hammond (the utilisation of more vocal parts increase the gospel quotient).
Pat Metheny contributes an ambling solo on the archtop as the intensity builds towards the end, which includes a gospel-ised closing section.
'Se-O' returns to the Latin type vibe of 'In On It,' here with an insistent and clever theme that’s effectively shared by guitar and Hammond.
Drummer Joe Dyson then shines before the number moves to a great Hammond solo that incorporates lightning-fast arpeggios and chromatic runs to great effect. Pat Metheny then responds in kind before returning to the initial theme.
Designed to showcase an evolving selection of new jazz & fusion talent, 2021’s live recording Side-Eye NYC (V1.IV) featured Metheny with James Francies on keys (Francies guests on one number here) and Marcus Gilmore on drums.
This time around the core trio is Metheny, Chris Fishman (keys) and Joe Dyson (drums) supported by a talented ensemble that includes Daryl Johns (bass), Brandee Younger (harp), Luis Conte (percussion), Vincent Peirani (accordion) and a vocal ensemble led by Mark Kibble of Grammy-winning A Cappella gospel group Take 6.
Opener 'In On It' is an up-tempo offering where keys/ bass/ drums/ percussion provide the backdrop to Pat Metheny’s clean archtop guitar.
Despite the frenetic pace the track has a laid-back and summery, Latin vibe. The ghost of the late Lyle Mays (the brilliant keys foil to Metheny for so many PM Group years) is also evident, while the breakdown provides an opportunity for Metheny to switch to his signature guitar-synth sound and duet with keys player Chris Fishman.
There’s some stellar (and outside) playing here, which segues into a great drum break and effected vocal sequences, interspersed with some effective production techniques.
The number then returns to the initial theme (again at breakneck speed) before reaching its conclusion.
A complex and stunning introduction.
'Don’t Look Down' is a downtempo number with an almost bluesy feel.
Pat Metheny again favours his clean guitar sound including an understated solo, followed by an equally adept piano solo from Fishman.
More choral vocal contributions elevate this cinematic number further before a guitar-synth solo takes us to the finale. The top-notch production on this eleven-minute number (yet never outstaying its welcome) makes this another glorious triumph.
The similarly lengthy 'Make a New World' is sparser than the preceding numbers and has the feeling of a (virtual) smoky jazz club.
The band moves seamlessly between themes, bridges, key changes, accents and sudden breakdowns with the skill and panache that is necessary to pull this off in a convincing manner.
More tasteful choir-like vocal contributions towards the end gives this piece an added spiritual element.
'Urban And Western,' another with a sparse arrangement, has a jazz-blues vibe accentuated by the inclusion of some gospel-like Hammond (the utilisation of more vocal parts increase the gospel quotient).
Pat Metheny contributes an ambling solo on the archtop as the intensity builds towards the end, which includes a gospel-ised closing section.
'Se-O' returns to the Latin type vibe of 'In On It,' here with an insistent and clever theme that’s effectively shared by guitar and Hammond.
Drummer Joe Dyson then shines before the number moves to a great Hammond solo that incorporates lightning-fast arpeggios and chromatic runs to great effect. Pat Metheny then responds in kind before returning to the initial theme.
'Our Old Street' sees Pat Metheny switch to acoustic for what is a highlight among highlights.
This is one of those contemplative/ emotional numbers at which Metheny excels (such as the sublime 'Letter from Home') with, again, a Lyle Mays influence (the delicate piano accompaniment from Chris Fishman).
In short, a lovely trio piece played by expert musicians with production values that are second to none.
The cinematic 'Risk And Reward' has Pat Metheny switching back to the Archtop.
This mid-tempo number switches between jazz, blues and a touch of Americana, but there are also a number of breakdowns that hint at the theme to heighten interest.
The playing here is quietly understated and it’s a testament to the quality of both the musicianship (which is delivered with feel) and the arrangement of the number that its ten minutes just fly by.
The emotive 'So Far, So Good' has, like 'Our Old Street,' acoustic guitar taking the melody part.
There are also more great contributions from the keys and rhythm section before a glorious rallentando marks the end of an album that is a candidate for end-of-year awards in the jazz, fusion and instrumental fields.
Pat Metheny, now 71, continues to age gracefully as an artist.
And, with his Side-Eye project, he’s doing it in the company of highly talented younger musicians, who are getting the chance to showcase their chops with a maestro.
That’s an old and young win-win in anybody’s jazz-fusion book.
Nelson McFarlane
FabricationsHQ
This is one of those contemplative/ emotional numbers at which Metheny excels (such as the sublime 'Letter from Home') with, again, a Lyle Mays influence (the delicate piano accompaniment from Chris Fishman).
In short, a lovely trio piece played by expert musicians with production values that are second to none.
The cinematic 'Risk And Reward' has Pat Metheny switching back to the Archtop.
This mid-tempo number switches between jazz, blues and a touch of Americana, but there are also a number of breakdowns that hint at the theme to heighten interest.
The playing here is quietly understated and it’s a testament to the quality of both the musicianship (which is delivered with feel) and the arrangement of the number that its ten minutes just fly by.
The emotive 'So Far, So Good' has, like 'Our Old Street,' acoustic guitar taking the melody part.
There are also more great contributions from the keys and rhythm section before a glorious rallentando marks the end of an album that is a candidate for end-of-year awards in the jazz, fusion and instrumental fields.
Pat Metheny, now 71, continues to age gracefully as an artist.
And, with his Side-Eye project, he’s doing it in the company of highly talented younger musicians, who are getting the chance to showcase their chops with a maestro.
That’s an old and young win-win in anybody’s jazz-fusion book.
Nelson McFarlane
FabricationsHQ