Pat Metheny – Side-Eye NYC (V1.IV)
Jazz / fusion instrumentalist & composer Pat Metheny, long regarded as the guitarist’s guitarist and one of the finest players in the world, is currently in a relatively prolific phase.
Having released two albums in the last eighteen months (the exceptional From This Place followed by Road to the Sun, the latter classical compositions for guitar specifically written for other players), the maestro from Missouri has now delivered a live album to dovetail with, and support, his upcoming 2022 world tour.
Side-Eye NYC is a Pat Metheny trio performance recorded pre-lockdown in 2019; it features reimagined numbers from across Metheny's long and varied career and two new compositions.
As expected, Pat Metheny's musical accomplices are seriously impressive players, here in the young, up and coming shape of the talented (and Blue Note signed) keyboardist James Francies and acclaimed drummer Marcus Gilmore; the omission of a bass player is ably covered by Francies contributing bass parts on his keys and/or Pat Metheny utilising an Octaver to fill out the lower register.
Showcasing young talent such as James Francies is the Metheny modus operandi of the Side-Eye project and performances, with this particular line-up the fourth incarnation (hence the V1.IV sub-title).
Opening number, 'It Starts When We Disappear,' weighing in at almost fourteen minutes, is a typical (and highly accomplished) Pat Metheny soundscape right from the off.
The long-form number, which starts and finishes with some impressive electronica, allows the twenty-six-year-old James Francies to demonstrate the mastery of his instrument by contributing not just a stunning piano solo but synth pads and a bass line.
Pat Metheny takes over solo duties about halfway through, weaving in and out of the chord changes with ease and taste.
The NYC audience, who are lapping it up, are then treated to a re-working of the bright and breezy 'Better Days Ahead' from 1989’s Letter From Home (a highlight of the impressive Pat Metheny Group back catalogue).
Third number 'Timeline,' originally released by the late and revered saxophone player Michael Brecker in 1999 (written by and featuring Pat Metheny), showcases James Francies once again via a tasty organ solo on the jazz-blues arrangement of the tune.
Having released two albums in the last eighteen months (the exceptional From This Place followed by Road to the Sun, the latter classical compositions for guitar specifically written for other players), the maestro from Missouri has now delivered a live album to dovetail with, and support, his upcoming 2022 world tour.
Side-Eye NYC is a Pat Metheny trio performance recorded pre-lockdown in 2019; it features reimagined numbers from across Metheny's long and varied career and two new compositions.
As expected, Pat Metheny's musical accomplices are seriously impressive players, here in the young, up and coming shape of the talented (and Blue Note signed) keyboardist James Francies and acclaimed drummer Marcus Gilmore; the omission of a bass player is ably covered by Francies contributing bass parts on his keys and/or Pat Metheny utilising an Octaver to fill out the lower register.
Showcasing young talent such as James Francies is the Metheny modus operandi of the Side-Eye project and performances, with this particular line-up the fourth incarnation (hence the V1.IV sub-title).
Opening number, 'It Starts When We Disappear,' weighing in at almost fourteen minutes, is a typical (and highly accomplished) Pat Metheny soundscape right from the off.
The long-form number, which starts and finishes with some impressive electronica, allows the twenty-six-year-old James Francies to demonstrate the mastery of his instrument by contributing not just a stunning piano solo but synth pads and a bass line.
Pat Metheny takes over solo duties about halfway through, weaving in and out of the chord changes with ease and taste.
The NYC audience, who are lapping it up, are then treated to a re-working of the bright and breezy 'Better Days Ahead' from 1989’s Letter From Home (a highlight of the impressive Pat Metheny Group back catalogue).
Third number 'Timeline,' originally released by the late and revered saxophone player Michael Brecker in 1999 (written by and featuring Pat Metheny), showcases James Francies once again via a tasty organ solo on the jazz-blues arrangement of the tune.
Pat Metheny then delights the audience with a re-working of the delicate and now classic title track from his 1976 debut solo album, Bright Size Life.
That album included a certain Jaco Pastorius on bass, but James Francies somehow manages to contribute a passable approximation of the bass line as well as deliver another great piano solo.
An unexpected highlight of the set/ album is 'Lodger.'
Introducing itself as a slowly building gospel-styled number before settling into a mid-tempo rock-beat, 'Lodger' features Pat Metheny using an uncharacteristic, over-driven sound reminiscent of Steve Howe in his prime - the results are a surprising but welcome highlight of the set / album.
Offering complete contrast is the down-tempo and haunting 'Sirabhorn' (also from Bright Sized Life), James Francies contributing piano and faux fretless bass to great effect.
Penultimate number 'Turnaround' is an Ornette Coleman standard that featured on Pat Metheny’s 80/81 album.
Including unexpected key-changes and some spontaneous free-form playing by all three musicians, the reworking of the number allows Marcus Gilmore to cut loose while James Francies, once again, impresses.
Closing number 'Zenith Blue,' the other new long-form number on show, features Pat Metheny’s signature guitar synth sound as the main melody instrument.
'Zenith Blue' may clock in at eleven-and-a-half minutes but it doesn’t allow for attentions to wander – this is classic Metheny; conjuring up wide open spaces in a cinematic manner where he truly excels.
Towards the end Marcus Gilmore takes the piece by the scruff of the neck to kick the tempo up a gear; James Francies then adds some tasty Moog lines over the top as the number hits an epic ending.
It’s a great way to round off another excellent Pat Metheny offering.
Pat Metheny has won 20 Grammys during his career (in 10 different categories) and the sixty-seven-year-old doesn’t look (his age), or sound, like he is anywhere near finished.
This album, along with the aforementioned From This Place, sound like a re-energised Pat Metheny, ready to deliver in his inimitable style across 100 continent crossing dates in 2022.
Nelson McFarlane & Ross Muir
FabricationsHQ
That album included a certain Jaco Pastorius on bass, but James Francies somehow manages to contribute a passable approximation of the bass line as well as deliver another great piano solo.
An unexpected highlight of the set/ album is 'Lodger.'
Introducing itself as a slowly building gospel-styled number before settling into a mid-tempo rock-beat, 'Lodger' features Pat Metheny using an uncharacteristic, over-driven sound reminiscent of Steve Howe in his prime - the results are a surprising but welcome highlight of the set / album.
Offering complete contrast is the down-tempo and haunting 'Sirabhorn' (also from Bright Sized Life), James Francies contributing piano and faux fretless bass to great effect.
Penultimate number 'Turnaround' is an Ornette Coleman standard that featured on Pat Metheny’s 80/81 album.
Including unexpected key-changes and some spontaneous free-form playing by all three musicians, the reworking of the number allows Marcus Gilmore to cut loose while James Francies, once again, impresses.
Closing number 'Zenith Blue,' the other new long-form number on show, features Pat Metheny’s signature guitar synth sound as the main melody instrument.
'Zenith Blue' may clock in at eleven-and-a-half minutes but it doesn’t allow for attentions to wander – this is classic Metheny; conjuring up wide open spaces in a cinematic manner where he truly excels.
Towards the end Marcus Gilmore takes the piece by the scruff of the neck to kick the tempo up a gear; James Francies then adds some tasty Moog lines over the top as the number hits an epic ending.
It’s a great way to round off another excellent Pat Metheny offering.
Pat Metheny has won 20 Grammys during his career (in 10 different categories) and the sixty-seven-year-old doesn’t look (his age), or sound, like he is anywhere near finished.
This album, along with the aforementioned From This Place, sound like a re-energised Pat Metheny, ready to deliver in his inimitable style across 100 continent crossing dates in 2022.
Nelson McFarlane & Ross Muir
FabricationsHQ