Metheny

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.

When guitarist Pat Metheny released Orchestrion (Nonesuch) in 2010, it almost immediately became one of his most controversial recordings since Zero Tolerance for Silence (Warner Bros., 1992). Why, in a jazz world, where interaction with other musicians is so fundamental to its spirit, to its raison d'être, would one of the most important guitarists of his generation not only release an album that replaced live musicians with a complex, pneumatic and solenoid-driven beast of an instrument called an Orchestrion, but actually embark on a massive world tour to promote it?

First and foremost, let's establish one thing. This review has absolutely nothing to do with my friend and fellow Blogcritic Mark Saleski, who is known to anyone who reads this site regularly as a somewhat big Pat Metheny fan. I've actually been listening to Metheny for quite some time myself. Though I admit that up until recently viewing this marvelous concert captured on DVD by the folks at Eagle Rock, that I'd lost track of Metheny for a number of years. But before we get to that, and at the risk of possibly angering Saleski and a few of our other music scribes like Pico, I've got a few words to say about jazz in general these days.