Pat Metheny Ornette Coleman

Guitarist Pat Metheny had long expressed admiration for Ornette Coleman's music, had recorded his compositions, and had worked extensively with bassist Charlie Haden, so a collaboration was not totally unexpected, though who would have guessed that it would be on the Geffen label? Metheny's almost rock star status has worked against him in other partnerships from time to time (notably, his overbearing playing on his project with Derek Bailey, The Sign of 4), but here he happily sublimates his showier instincts and works as sympathetic co-leader, deferring to Coleman's experience and genius.

Guitarist, composer, and bandleader Pat Metheny is one of the most successful jazz musicians in the world. He is the only artist to win 20 Grammy Awards in 10 different categories. A consummate stylist and risk-taker, his musical signature melds a singular, euphoric sense of harmony with Afro-Latin and Brazilian sounds, rock, funk, global folk musics, and jazz. His 1976 debut, Bright Size Life, and the self-titled Pat Metheny Group two years later resonated with audiences and critics for its euphoric lyricism, dynamics, and rhythmic ideas.

Cuong Vu Trio + Pat Metheny - Cuong Vu Trio Meets Pat Metheny (2016) {Nonesuch ‎7559-79466-8}
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© 2016 Nonesuch ‎Records / Warner / MGP | 7559-79466-8
Jazz / Modern Creative / Avant-Garde Jazz / Beyond Jazz / Trumpet / Guitar

Despite the somewhat misleading title, Cuong Vu Trio Meets Pat Metheny, trumpeter Cuong Vu has a lengthy history with the legendary jazz guitarist that goes back to Metheny's Grammy-winning 2002 album, Speaking of Now. Since then, Vu has played with Metheny enough that he is a regular part of the conversation when discussing the guitarist's more adventurous contemporary works. Despite his pedigree, having graduated from the New England Conservatory and worked with such luminaries as David Bowie, Myra Melford, Laurie Anderson, and others, Vu is a maverick. A highly gifted, forward-thinking musician, Vu often eschews the more clarion, declarative aspects of his chosen instrument in favor of macabre growls, dampened tones, and improvisatory lines that skitter forth with the mad convulsions of a housefly.