| One of the most successful and critically acclaimed jazz musicians to come to prominence in the 1970s and '80s, he is the leader of the Pat Metheny Group and is also involved in duets, solo works, and other side projects.Biography
2 Pat Metheny Group
3 Side Projects
4 Guitar Contributions
4.Pat Metheny Group on the ECM record label.Pat Metheny also has released notable solo, trio, quartet and duet recordings with musicians such as Jim Hall, Dave Holland, Roy Haynes, Gary Burton, Chick Corea, Pedro Aznar, Jaco Pastorius, Charlie Haden, John Scofield, Jack DeJohnette, Herbie Hancock, Bill Stewart, Ornette Coleman, Brad Mehldau, Joni Mitchell and many others.Pat Metheny has also joined projects such as Song X with Ornette Coleman; Parallel Realities; and Jazz Baltica, with Ulf Wakenius and other Nordic Jazz players and plays with some great female musicians such as Silje Nergaard on Tell Me Where You're Going (1990), Noa on Noa (1994) and Anna Maria Jopek on Upojenie (2002).Metheny has written over 200 pieces and continues to push musical limits in both his composition and performance.The Pat Metheny Group is a jazz band founded in 1977.The first Pat Metheny Group release, 1978's "Pat Metheny Group", featured the writing duo of Pat Metheny and pianist Lyle Mays, a collaboration which would span over 25 years and 15 albums.Cross the) Heartland" which would become a signature tune for the group.The group built upon its success through constant touring across the USA and Europe.Mays' Oberheim and Sequential Circuits Prophet V synthesizers and Steinway piano.From 1982 to 1985 the Pat Metheny Group released Offramp (1982), a live set Travels (1983), and First Circle (1984), as well as The Falcon and the Snowman (1985), a soundtrack album for the movie of the same name in which they collaborated with David Bowie.This Is Not America', reached number 14 in the British Top 40 in early 1985 as well as number 32 in the USA.Bard as well, in Chicago, before joining Metheny.This period became a peak of commercial popularity of the band, especially for the live recording Travels.The next three Pat Metheny Group releases would be based around a further intensification of the Brazilian rhythms first heard in the early 1980s.Still Life (Talking) (1987) was the Group's first release on new label Geffen Records, and featured several popular tracks.The 1989 release Letter from Home continued this approach, even more relentlessly Latin, in its bossa and samba pieces.Metheny then again delved into adventurous solo and band projects, and four years went by before the release of the next record for the next Pat Metheny Group, a live set entitled The Road to You, which featured tracks from the two Geffen studio albums amongst new tunes.Mays and Metheny themselves refer to the following three Pat Metheny Group releases as the triptych: We Live Here (1995), Quartet (1996), and Imaginary Day (1997).Speaking of Now, another change in direction adding musicians to the band who are one generation younger and thus grew up with the Pat Metheny Group.The new members on the bandstand are the drummer Antonio Sanchez from Mexico City, trumpet player Cuong Vu and bassist, vocalist, guitarist, and percussionist Richard Bona from Cameroon.Core members of the group are leader and founder, guitarist Pat Metheny, Lyle Mays (piano, keyboards) and Steve Rodby (double and electric bass) who joined in 1980.Drummer Paul Wertico, replacing Dan Gottlieb in 1984, played with the Group for more than 18 years, until he was replaced by Antonio Sanchez, currently also a member of The Pat Metheny Trio.The current Pat Metheny Group members are Pat Metheny (guitars), Lyle Mays (piano and keyboards), Steve Rodby (double bass, electric bass), Antonio Sanchez (drums), Cuong Vu (trumpet).Pat Metheny has collected 17 Grammy Awards with, as part of The Pat Metheny Group, ten consecutive Grammys.Side Projects
When working outside of the confines of the PMG, Metheny has shown different sides to his musical personality.Working with established jazz figures such as Ornette Coleman, Chick Corea, Michael Brecker, Charlie Haden, Jim Hall, Dave Holland, Christian McBride, David Sanchez and Roy Haynes, he has made records that have found favor with jazz critics that were disparaging of the "pastoral" or "light rock" aspects of his work with the PMG.Guitar Contributions
Continuing the tradition of jazz guitarists borrowing tones and techniques from their rock counterparts, Metheny has made alterations to the jazz guitar tone palette."Sirabhorn" (from Bright Size Life) and San Lorenzo (from Pat Metheny Group and Travels).By using digital signal processing that involves digital delay and reverb, he has created a big, rich, and resonant instrumental voice.Unlike many guitar synth users, Metheny limits himself to a very small number of sounds; in interviews, he has argued that each of the timbres achievable through guitar synthesis should be treated as a separate instrument, and that he has tried to master each of these "instruments" instead of using it for incidental color.Live, and the Speaking of Now Live and Imaginary Day DVDs.Clifford Brown and John Coltrane.He has paid significant attention to the evolution of guitar playing across genres, however, and is familiar with the playing of notables from the likes of rocker Eddie Van Halen to Windham Hill artist Leo Kottke.Brazilian sounds of the country's northeast.He is also a fan of several pop music artists, including The Beatles, James Taylor, after whom he named the song "James" on "Offramp", and Joni Mitchell, with whom he performed on her Shadows and Light tour.Metheny has also named Ornette Coleman as a musical influence.Night Out (1986) and more recently Close Enough for Love (2001).Pat Metheny Group on MySpace
A complete Pat Metheny discography
All Music Guide to Pat Metheny
Pat Metheny profile, NNDB
Pat Metheny at the Internet Movie Database
Pat Metheny at Last.This page was last modified 20:45, 6 January 2008.See Copyrights for details.This article does not cite any references or sources.The Pat Metheny Group is a jazz group founded in 1977.The core members of the group are guitarist and bandleader Pat Metheny, composer, keyboardist and pianist Lyle Mays (who was part of the group's inception in 1977), and bassist and producer Steve Rodby (joined in 1980).Paul Wertico who was the drummer for 18 years.Pat Metheny Group (album) (1978), the band's first release.Jaco Pastorius and Bob Moses, followed by Watercolors in 1977.Lyle Mays and drummer Danny Gottlieb."At the same time, Jaco and I were both really on a mission to find a way to play and find a way to present our instruments in an improvisational environment that expressed our dissatisfaction with the status quo at the time."With the joining of bass player Mark Egan in 1977, the Pat Metheny Group had been formed.Pat Metheny Group on the ECM label.Cross the) Heartland" which would become an early signature tune for the group.This first incarnation of the group included Danny Gottleib (drums) and Mark Egan (bass).The group built upon its success through lengthy tours in the USA and Europe.Mays' Oberheim synthesizer and Yamaha Organ.Even in this early state the band played in a wide range of styles from experimental to grassroots.Later on, Metheny began working with the Roland GR300 guitar synthesizer and the Synclavier System made by New England Digital, while Mays expanded his setup with the Prophet 5 synthesizer made by Sequential Circuits, and later with many other synthesizers.From 1982 to 1985 the Pat Metheny Group released Offramp (1982), a live set Travels (1983), and First Circle (1984) as well as The Falcon and the Snowman (1985) a soundtrack album for the movie of the same name.Offramp marked the first recorded appearance of bassist Steve Rodby in the group (replacing Mark Egan), and also featured Brazilian "guest artist" Nana Vasconcelos.The Way Up, which won the Grammy Award for Best Contemporary Jazz Album.First Circle also marked the group debut of drummer Paul Wertico (replacing Danny Gottlieb).This period saw the commercial popularity of the band increase, especially thanks to the live recording Travels.Then next three Pat Metheny Group releases would be based around a further intensification of the Brazilian rhythms first heard in the early '80s.Additional South American musicians appear as guests, notably Brazilian percussion player Armando Marcal.The 1989 release Letter From Home continued this approach, with the South American influence becoming even more prevalent in its bossa nova and samba rhythms.Metheny then again delved into adventurous solo and band projects, and four years went by before the release of the next record for the next Pat Metheny Group.This was a live set recorded in Europe entitled The Road to You, and it featured tracks from the two Geffen studio albums alongside new tunes.Mays and Metheny refer to the following three Pat Metheny Group releases as the triptych: We Live Here (1995), Quartet (1996), and Imaginary Day (1997).Speaking of Now, marking another change in direction through the addition of younger musicians.Joining the core players (Metheny, Mays and Rodby), were drummer Antonio Sanchez from Mexico City, Vietnamese trumpet player Cuong Vu and bassist, vocalist, guitarist, and percussionist Richard Bona from Cameroon.Many of the textures in The Way Up are created from interlocking guitar lines (Steve Reich is credited on the CD as an inspiration, along with Eberhard Weber), and there are large open sections for solo improvisation and group interplay.On the group's 2005 tour (when its lineup was supplemented by Brazilian multiinstrumentalist Nando Lauria), The Way Up was played in its entirety as the first half of the concert.The Way Up was released through Nonesuch Records.Speaking of Now
Warner Bros.Pat Metheny Group at Last.The video has been added to your playlist.This video will appear on your blog shortly.Thank you for flagging this video.Per our Community Guidelines, hate speech is specifically defined in reference to "protected groups."There may be significant legal penalties for false notices.Please refer to our Help Center for more information and the complete instructions.Please refer to our Help Center for more information and the form to submit.Thank you for sharing this video!Change this to see only comments above a certain value.Change the value of a comment by clicking on a thumb.Pat metheney for jesus!!America" there are so many truths in those minor chords..Even though he looks like yahoo serious, you can't beat the clarity and vibe of Pat.After making your selection, copy and paste the embed code above.Hello, you either have JavaScript turned off or an old version of Adobe's Flash Player.Get the latest Flash player.Thank you for flagging this video.Content of this nature is not necessarily prohibited on YouTube, however we will review this video and take action as appropriate.Thank you for sharing your concerns.We can only process copyright complaints submitted by authorized parties in accordance with processes defined in law.There may be significant legal penalties for false notices.Thank you for sharing your concerns.In order to process a privacy complaint we need more information from you.Please refer to our Help Center for more information and the form to submit.Thank you for sharing this video!Real music comes from the heart and soul.He seems to play picking guitar holding three fingeres that thumb, first, and second...Pat Metheny in Sessions at West 54th making "In...Sign in to get personalized recommendations.Click here for information on the latest Pat Metheny Group recording The Way Up and information on the related world tour.Click here for a Pat Metheny Discography.You are generally supportive of other musicians it seems.Kenny G is not a musician I really had much of an opinion about at all until recently.My impression was that he was someone who had spent a fair amount of time listening to the more pop oriented sax players of that time, like Grover Washington or David Sanborn, but was not really an advanced player, even in that style.Lorber was basically playing him off the bandstand in terms of actual music.Of course, I am aware of what he has played since, the success it has had, and the controversy that has surrounded him among musicians and serious listeners.This controversy seems to be largely fueled by the fact that he sells an enormous amount of records while not being anywhere near a really great player in relation to the standards that have been set on his instrument over the past sixty or seventy years.And honestly, there is no small amount of envy involved from musicians who see one of their fellow players doing so well financially, especially when so many of them who are far superior as improvisors and musicians in general have trouble just making a living.Having said that, it has gotten me to thinking lately why so many jazz musicians (myself included, given the right "bait" of a question, as I will explain later) and audiences have gone so far as to say that what he is playing is not even jazz at all.Stepping back for a minute, if we examine the way he plays, especially if one can remove the actual improvising from the often mundane background environment that it is delivered in, we see that his saxophone style is in fact clearly in the tradition of the kind of playing that most reasonably objective listeners WOULD normally quantify as being jazz.As a composer of even eighth note based music, he SHOULD be compared to Herbie Hancock, Horace Silver or even Grover Washington.Suffice it to say, on all above counts, at this point in his development, he wouldn't fare well.But, like I said at the top, this relatively benign view was all "until recently".Louis's tracks (even one of his lesser ones), he did something that I would not have imagined possible.We ignore this, "let it slide", at our own peril.Kenny G recordings, concerts and anything he is associated with.Normally, I feel that musicians all have a hard enough time, regardless of their level, just trying to play good and don't really benefit from public criticism, particularly from their fellow players.WILL get a piece of my mind and (maybe a guitar wrapped around his head.NOTE: this post is partially in response to the comments that people have made regarding a short video interview excerpt with me that was posted on the internet taken from a tv show for young people (kind of like MTV)in poland where i was asked to address 8 to 11 year old kids on terms that they could understand about jazz.ADDENDUM: the only thing wrong with the statement that i made was that i did not include the rest of the known universe.ANYONE would be even a little bit surprised that i would say such a thing, given the reality of mr.Upcoming events for Pat Metheny:
Biography
Pat Metheny was born in Kansas City on August 12, 1954 into a musical family.Over the years, he has performed with artists as diverse as Steve Reich to Ornette Coleman to Herbie Hancock to Jim Hall to Milton Nascimento to David Bowie.Strayhorn partnerships by critics and listeners alike.As well as being an accomplished musician, Metheny has also participated in the academic arena as a music educator.At 19, he became the youngest teacher ever at the Berklee College of Music, where he also received an honorary doctorate more than twenty years later (1996).He has also taught music workshops all over the world, from the Dutch Royal Conservatory to the Thelonius Monk Institute of Jazz to clinics in Asia and South America.He has also been a true musical pioneer in the realm of electronic music, and was one of the very first jazz musicians to treat the synthesizer as a serious musical instrument.Years before the invention of MIDI technology, Metheny was using the Synclavier as a composing tool.The Pat Metheny Group won an unprecedented seven consecutive Grammies for seven consecutive albums.At the time of this writing, he continues to be one of the brightest stars of the jazz community, dedicating time to both his own projects and those of emerging artists and established veterans alike, helping them to reach their audience as well as realizing their own artistic visions.Live
Pat Metheny: Quantum Musician
The Song X Podumentary
A Trio of Pat Metheny Group Reissues
Pat Metheny Trio + 1
Pat Metheny Trio+1: First Stop Seattle
Song X: Twentieth Anniversary
Song X: Twentieth Anniversary
The Way Up
A Fireside Chat with Pat Metheny
Pat Metheny Group Heats Up Toronto
Pat Metheny Group in Potsdam, NY
The Way Up
The Way Up
The Way Up
Pat Metheny Group: The Way Up
The Way Up
Upojenie
The Jazz Soul of P.Google
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MetaCrawler for Pat Metheny.Concerts, clinics, and more.Infinite Menus Source Code (Do Not Alter!Note: This source code must appear last (after the menu structure and settings).Well, first of all, I would like to sincerely thank everyone here at Berklee for bestowing this great honor on me.When I think back at the time that I was here at Berklee, it is always with fond memories and good feelings that make it even more special for me.My connection to the Berklee school, goes back to January of 1974, when I was 19 years old.Gary Burton, who had seen me teaching and playing at various jazz festivals and band camps around the country.He gave me a job and I moved here to Boston.The level of musicianship of the students and the teachers around Berklee then, like now, was quite inspiring and really amazing for me, coming from this little town in Missouri like I did.Boston was probably the time that I developed, and crystallized whatever style I had.That was largely due to the incredible, stimulating musical environment that was Boston, at that time.And that is because, at the time, I was totally involved with trying to figure out a way of doing things with my instrument musically, that would fit the ideas that I had in my head.Since I've been given the honor today, and the responsibility that comes with it, I should try and use this opportunity to relate to y'all, some of the things that I've noticed to be true since my days here at Berklee.So, for what it's worth, here's a couple things.When I do look back on the past twenty years or so, the main thing I have to acknowledge is, just how unbelievably lucky I personally have been, to see so many of my musical dreams come true like they have.I've gotten some nice awards, and recognition from my peers, even the general public.And mainly, in the cultural context that we live in, maybe most surprisingly, I have been able to survive and have as life playing creative music at a high level.Any one of these things would have been beyond my wildest dreams, when I was a little kid in Missouri, thinking about one day becoming a musician.The fact that they have all come true, leaves me waking up every morning, feeling just unbelievably fortunate and thankful.But in the process of putting this speech together, it has forced me to really examine a few details about what has been particularly significant for me, as an individual, in this life that I have been having as a musician.But I do think that when I was younger, there would be a day when I would sort of "get it", and that everything would be cool, and I would have arrived at that promised land of being a great musician and I would just be.And I can see now, that that is never going to happen.It is that need and desire to want to go home and practice that's the coolest thing.The part where you start with nothing, have a musical idea or vision or aspiration, and through discipline and organization and preparation, and especially inspiration, you finally end up with the capacity to do something that you didn't know you could do.This process is an essential part of all music making activities, that we as musicians probably take for granted.But it is a skill that throughout our lives as players, we have an opportunity to learn about and refine to a very high degree.And it is for that reason, that many of the greatest people that I've known have been, essentially, musicians.Whether professional or not, they have lived their lives in a way that this musical process was a guiding part in how they went about solving their problems and living their lives.That sense of personal, and especially musical growth.In this culture, there are lots of reasons why people become musicians.Due to technology, due to mass communications, and mainly because things just naturally change and we happen to be in a period where they are massively changing.And I think that regardless of how much things keep changing or mutating through the years, it will always be the same.Just go home, try to understand as much as you can about why you wanted to be a musician in the first place, and exactly what it is about music that knocks you out, and practice like crazy on that.And if you can do it about fourteen hours a day, that will help too.Especially compared to what you have to know in order to become a good musician in the first place.And especially compared to what you get out of the process of becoming a good musician.Not the quick fix kind of goal of making a record or two or getting a couple of nice gigs.Of course, it is easy for me to stand here and say all this.I've gotten the gigs and the record contracts and all that stuff.But there is one other larger truth that I've seen in evidence over this time, and it goes like this and my best wish would be that I might even be an example.Really good, seriously good, musical work has a way of finding its way out to the people.I've rarely, if ever after all these years, run across someone who has something that they've developed that's truly valuable to offer as a musician, who doesn't finally end up with opportunities to turn those ideas into some kind of career.But usually, the chances show up, if what the musician has to offer is really strong, really sincere and is honestly representative of who they are as musicians and as people, regardless of the stylistic zone.Maybe the most important commitment you can make is to the music fan that lives inside of you, to find out just what it is about music that knocks you out.All of you here have roads ahead of you that will be filled with good musical days, the ones where you feel you can play or hear anything, and bad musical days, the ones where everything you do sounds like a bad Madonna tune.But that variety, that sense of unknowing, that feeling of having to make it up yourself, that sense of adventure, that is what music is.And fun is a good word to end on.For all the satisfaction and work and practice and dues that it takes to become a good musician, in the end, and I'm sure you all will agree with this, it's a blast to be a musician. |
