Pat Metheny Song Book 20y38

est inodem reco:dmgs oí its time.

1996 - QUARTET P.1t Methe11y: í.lCOUStic & cfoctrJ( sui1acs.. 12·

stting guitar, 42M string pikasso guitar. E·Bows .rnd M1, yuitar synlh¡ lyle A·fa)'5: pi.:ino, non·luned ~pine1 pi r acooslil hass, ptccolo b.hs; Poml Wertko: drums. pcn:ussion. Thi:> recording fe,uurt.-s 1he co1e group ( l~'k". Steve, l}aulj pl a~· ing music th:il ~'' anfl hcauty
1997 - BEYONO THE MISSOURJ SKY Cl>arlie H.rle11: bass: PM Metheny: acoustic guitars ;.ind all other inslruments. Afler )'ears oí hinting a1 such a collaboration, Pat and Ch.irlie came ur.> with wha1 some are calling a limclcss cJassic. lncorporating elements of 1aZ1., folk, and counlr~~ Charlie sums il up besl bv descnbing it Js "conlemporary imprcssion1stic .'\1nerictlna.,.. G,amrny \Vmner, 1997.

1995 - WE ll\IE HERE P,1r /vtether>y: ¡;oi1c11s, KU1ldr synlhs: Lyle MJ )'s: p1.ino. kcybo•rds: Steve Rodby: acou..stil: & efec.tric ba$ses; Paul \·Verl!'',:o: drums: l)cwid U/amires: voc,1ls; .Mdrk ledford: vocals, whist·lmg,. flugelhorn, trumpc1; luis Come; per(uSsion. f\ew

ground broken herc as thc group mefds drum loops with gre111 1mprovising ;inri hi11 chord ch,ing~s. \'Vinner oi 1he group's sev~nlh

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1994 - ZfRO TOlUANCE FOR Sll.E Na

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/'a( M;.'íhcny: guitar. r.it ex~ o s1de 01 tus musical llíe thdt hdS ncvcr bcC'n

/ohn Scofr~ld anti P~1 ,~1e1henr elcctric ond iJ<.OU~IK gult,us, Sleve SwaJlow~ electnc b.'t:i.S ,md acouslic bl'!ss ¡.:;uit(ir; Oill Stew{111: rlnims. 'I he two mosl lmportanl and inilLienu;:il JJZZ guil imi.t~ of lile dav lCJm up foi an in11iguinc Stiss1on. More likc two old fnends compaimR nOléS aboul a fcwonte sub1ett lhan lhc dreadt-d '(ult1ng oomest' mentahtv lhal ohcn

oc'(\¡ades l1leSe fYPCS oi' encoumNs, Melherw .iid Scol1cld IO¡;« 11 has become •• á

recorded before. Thurs1011 Moorc of Sonic Youlh bes1 describes 1h1s recordin~ : • rhc most radical re<:ordlng oí 1hls dl'<:Jde... a ncw·

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199J - THE ROAD TO YOU Par 1'1etl.ienyc gultars, gurtar synths; ly/e M.1ys- plano. keyboords; Steve Rodby: acoustic ~ elettn<: bJ~'-"'; Pduf \·\'efli

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f)('rcusslon, hmbi'!les, conga~. vok:e; Peófo Azoar. V()i<;C, ll('OU$1iC ~1,1ilnr, percussion, liMc, St(•("I <1rums. v1b~s, marimba, mr>lodico. The íirsl live recording of 1he l'al Mcthcny Crou1> 1n len 1·eors. Rccorded in Euroix- 1 1h1s romf)ll.11ion con1ains íour nei.v well a¡ I03ny of che group'< füv(UttM. Grdnll'Tly winner, 1994.

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1992 - SEOIU STO«Y I~~ Mi:1he11y; a<.'OUlllC and eleclric g111tatS.

pi¡no. ~eybo.lrtb. elcctric b.m, etc. w1th 111<> london 0..chestra conducll'd by J~1em)' Lubbod dn IS Thei/m,ins, Lylt! Mays, \l\l1'/I le~', Stel'(! Roclby, Cill Coldsteín, l',w/ Wt•r//to, M,11* ( cdfurd, anrJ 01hers. Unquesllonilbl)• on(.l 01 Pc1l's n1ost personal and dceply frh mu!ii< i\I slatemen1s. In additiOll 10 1lw C'll10Cional fateo<, Secll?I SIOry also cxh1b<1s l'al'• groY>1h as • ccrnpose<. From 11S Cot~and like ordiei!ratio<>S 10 •IS únibod1o1n choldnin's choir. X
1990 - QUESTlON & ANSWtR ""' Mclheny guitar; 0.1ve Holldlld: b.1SS; Roy Ha)'OeS: drums Pdt'S lhird lrÍO A!lc.iic grew out of one dav'(, wMh ot 1ecord1ng in a 1'icw York studio widi ja11 ~!l'alS OJ\'C Holland on etwcen the lhrc(• veterans, the gui1,1r's voicc d.uting within ,111d .¡1round Hoyne's on
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1987 - Sllll llff (TALKlliG)

~UU'8 g.uil.n. 'iOJ)fano guildrs, tiple, ~har >1·n111(,,17crs. Synd.i>ii><, lr/e MJy,; piano, kcyboo , accordion, trumpet, Syn(IO\'ll'f, Strv<' Hodby: .Kousbc & electrk b.U4'C'Si P.wJ llt~ti'co: dl\11lls. caJJ, pcr<..uss1on; Pf!Cff(J A11J.lf: \•011.:e1 nt (JUSlic, guiMr, marimb.1. vilJci.. (rnor s:ix. charango, melotlica.

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challc11nt'> po>t'd bv thc d '·crsc 1nfluences niani<'d v.,¡hi• thetr woc\:. Conme, •nm ~;ikably nietodic 31l(! QUik' -~ t('(l(>r lrom ¡ Is • m<S"'!!" ol """"Y and accon.,i~ ~om a in 1op ionn. Gr.immywirn.• . 1'18'J

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P..t: All'fhrnr: .Jcoustk: & ek!<.lrk. h'Ollars~ qylt11t synth~~•zers: L)•le MJy.;: piano, k~yl>wr
1989 - l nTER FROM HOME PiJf Mt.'Úletlf. electnc ¿. acWl6c guiiars,IZ·

COLEMAN

1986- SONG X PM .-Wetheny: guitar, liU.Ular ,rnth~L~er; Ornett.e Ca.'er11.:1n: alto S<1xophonc, v10l1n¡ CIMtlie H
;'composer. 50111; X IJrt:aks "-OniC' b.irnPr!i whilt' rela nil\~ thr h,1,lcs ní all lhi'll 1s viL:il lll improvisJlmna.J musk: boundlC')!o "-piril, inexorable drive. 4'nd lh(' li nic·l í'S~ l rv oí lhe blues. l'a1 •nd Ornelte wcr~ ''""'"' 1)1• Char1ie Haden on aC<JCJ SIOO and dn.ms

1985 - TH E FALCON ANO THE SNOWMAN Pt1t M('lftet1)' : gutlclr synth~rzer, acoustic &

0lrr111c g<11lars, Lyle M,1r>: synthesizers, plJrm; Sl
Prodro Atn.1r: voi<::e; Special g1.1cs1: l),wid Bowio. MClh(•ny lran1cd with h1s frequent wrillng ponner dnd Poi Mélheny Group L~\'bon1di,1 , Lylr Mol)~. 10 compose lhP ..nuorl1r;¡("k for Jolm Sch lesin~er's c1iti<.:dll't' acclaim<.'ll f1 l111 lhe fal< W;!S th(> trtcmdtb\.JI h11. •rhh k Noc Amrnr.;a•. •l'COfd\>d hv Oavid 8owie (who also rontrihu1i;d 1he 1'1•CSl •nd the Pal Mtlheny Group

7

DISCOGRAPHY PAT METHENY GROUP (

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1964 - FIRST CIRCLE

Pat lvletheny: dt~qric & ;;icouslic gui!MS, Synd a\'ier uum11, ~ui ta r synthesizer; l>'1e M;Jy,s; piano, WnlhC.-'S iLelS1 O'l{dn, l1Ulnpl~(, a¡,>og<1 bells: Stcvc Rodhy: ocou
< b.ss, bass guilr'lr. bass drunl; P,1ul Wffiic:o: drums; Pee/fo

/tznar. \'Oicc. bclls, pcrcu.ssion, glockenspiel, whi$lle, ac:ouslic ~u11a1s . First Cirde s~,1ml cssl v melds the chMactcristic .~tetheny G1ouµ sound with th(,! airi,· sonoritiC's of 8razili.:Hl JJOpulJr music. 11 inlmduc:ed two r.cw mcmbcrs lo lh(.> Group: dtuinmer Paul \'\'crti<:o .md muhí.instrument\llist.'\'ocafisl l'<'
1983 - REJOICING Pat Me1/1eny: guitars: Charlie Haden: boss; Bill)' Higgins: drums. Pal ed íorce> wilh lhe unmatchable bo;!(ldrum reom of Charlie Haden and Bill\• l-fiH81ns, besl known ior 1heir work wilh jazz pionccr Orneue Colernan. The hio offers J superlative jazz s.et ...vith mMcti.11 by Omctte Colei'nan,

Morace Silver, and Charlie Haden. plus J\.\'O M.;-1heny originals.

1983 - TRAVELS Pi11 .l\ilcrhcny: guilars. guita1synlhesiz<:!r: Lyle May.s: piano, syn1hesizers. organ, auloharp, Synclavier; Dan Gutt/ieb: drums: Steve Rorll>y: acolJ5tic & ele-ctdc bass, basr, h'n l hesiz~r; Special guest: •"'ana l/."1.smnccfo..;: percussion, v·oice, befimbau. This íirst representa1ion oi 1he Cmup in concert íealured live vetsioos of bolh earlier compositions and ncw lunes. Gra mm~· w·inner. 1963.

1982 - OFFRAMP P.11 Mcthcoy: guitar s~mthesizer, guitar S)·ndav1er.. guitar; Lyle M ,ws: piano syn1hesizer, autohar¡>, organ, Synclav1er; Steve Rodby: acoustlc & electric boss;

·"'a11t1 Vc1sc:um:elos: pefcussion, vocals, berimbau: Dttn GoUHeb: drunl~. Oíframp wa~ lhe füsl Me1heny Group LP since American Garage. B~· lu1ns cooll~1 íu1uristic (Pat's lirsl rc<;ording with guitar s~·111h C>sizer• and buo~·an ll~· optimistic. Mcthen1' deems this album as 'probably 1he most divem.• within itseli." Grammy winnf:>~. 1962.

PAT ll&THSllX Qli.OUP

198'1 - AS FALLS WICHITA, SO FAllS WICHITA FAllS P;,tt Mctflcny: C'IC<;lric ¡iocl acooslic 6· & 12siring guil;irs, bnss.; L>'I<~ Mttys: piano syn1hesize1s, º'1t~m. autoharp; N.wa V.-ucoocr.los: percussion, voi.:als, bertmbau, drums. As Falf!, Wi<:hit.1, So F,11/s

1980 - 80/81 Par Metheny: 8Uilar; Ch,,,/ie Hodcn: bnss; /ack DcJohncfle: drums: Dewey Redman: tenor saxophone: A.fich.1cl Brccket: tenot saxophone. 80/81 was iour sides of spontalleous combustion with Metheny moving to the outsidc wilh such prime j¿i.z¿

Wic;/1it<> Falls took anothE.>r ne·w lrac.:k: far. rc.:irhing duC'ts. hct,.,·ccn ,\\cthcny and Mays. O<.:Casionally alieued b~· 1hc Km7.lltao pcrcus~ioni$1 Nana Vasconcelos. on m.1teri.il thJI was somclimrs iuUy conwosc
modemists as 1enor Si:lxophonists M1chael Brecker ,1nc1 Ocwcy Rcdman, bassist Charfie Madeo. and drummer lack Delohnelte.

1979 - AMERICAN GARAGE r.11 Mcthcny: ~- & t 2-slri n~ guitar:;: ly/~ MJys: piano, Obe!'fhr im (IUtoharp, orsa1); .\lfark fsan: bass; Dan Gonlicb: drums. Amcric,m Garage evinced lh{> Pa1Methl!ny

Group's more roc:kis.h sidc.

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1979 - NEW CHAUTAUQUA Pal Mcrherw: elecL1i<: 6- &

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guitars, acoustic guilar, 15-slring h 11stor;il air periormed on <1cous1ic ~uitdr. el ~lf1t 6· and 12-strings, 15-slring harp gui1<.1r, ,1nd cleclric bass.

8

1978 - PAT MfntfNY GROUP Pat '"'"'hr.ny: 6 - & 12-string guilar:;; Lyle .~l
drums. Seeds bloomed on 1his ;ilbom. which quit kfy l<>pped the 1azz dmrls ond g.1mcc1 mtmy rock fon51 CMS wi1hou1 blud1;eornns 1hcm i,vith meaninglcss lkk~.

ECM 1977 - WATERCOLORS P,,¡ Melhen)': 6- & l2·slring guitar:;, 15string ha1p guilar; lyle Md)'.S: piano; ftJerh.1rd Weber. bJss; t),1n C<>tllieb: d'ums. 1,t~uett"Olors \...·as an ernbr)'Omc Pat i\·\ethcny Group cffott. ,vherein Pat recorded lor 1he ii1s111me \i.·ith l ylr, M.:iys and Dan Gottlieb.

1976 - BRIGHT SIZE LIFE P...:1t A1ethe11y: (Hlring guita1, ek~lrk· 12stting ~uilar; foco Pasturius: bass; Bob

.V1oses: drums. Pnl was joi11cd bv the brillia1)t elee1ric bass1sl la(O Pastorius ;.rnd dn.inm1er Bob ,\.1oses. The ;1/bum 1n1ro
OTHER COLLABORATIVE WORKS Michael Brecker, Time Is of the Essence, 1999 Jim Hall, By Arrangement, 1998 Kenny Garrett, Pursuance: The Music of j ohn Coltrane, 1996 M ichael Brecker, Ta les from the Hudson, 1996 M arc Johnson's Bass Desires, The Sound of Summer Running, 1996 Tony W illiams, Wilderness, 1996 Abbey Lincoln, A Turtle's D ream, 1995 Bruce Hornsby, Hot H ouse, 1995 Roy Haynes, Te Vou, 1994 Milton Nascimento, A ngelus, 1994 Trilok Gurtu, Crazy Saints, 1993 Bruce Hornsby, H arbar Lights, 1993 Joshua Redman, Wish, 1993 Pat Metheny, Stone Free: A Tribute to Jimi H endrix, 1993 Akiko Yano, Lave Life, 1993 Gary Thomas, Ti// We Have Faces, 1992 Pat Metheny, Toys (Movie Soundtrack), 1992 Pat Metheny Group, More Travels (Video), 1992 DeJohnette/ Hancock/Holland/ Metheny, In Concert (Video), 1991 Jack DeJohnette, Para/le/ Realities, 1990 Gary Burton, Reunían, 1990 Toninho Horta, Moonstone, 1989 Akiko Yano, Welcome Back, 1989 Steve Reich, Electric Co unterpoin t- Pat M etheny, 1989 M ichael Brecker, M ichael Brecker, 1987 Mike M etheny, Day ln- N ight Out, 1986 Bob Moses, The Story of Moses, 1986 Lei la Pinheiro, Olho Nu, 1986 Pat Metheny, Twice in a Lifetime (Fil mscore), 1985 M ilton Nascimento, Encontros E D espedidas, 1984 Jerry Goldsmith, Under Fire (Soundtrack), 1983 Toninho Horta, Toninho Horta, 1980 Joni Mitchell, Shadows and Light, 1980 Gary Burton Quartet with Eberhard Weber, engers, 1977 Gary Burton, Oreams So Real, 1975 Gary Burton Quintet with Eberhard Weber, Ring, 1974 Paul Bley, j aco, 1974

9

PAT

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METHENY

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A Timeline of Cuitar lnnovations and Advancements

Develops a unique way oí m1xing an extremely advanced and sophisticated sense of the traditional jazz language with the country-influenced or "Americana" elements that reflect his own Midwestern roots. Dozens oí other artists are inspired to reexamine their own "heartland" roots.

Is the first to extensively use electric 12-string guitars in odd tunings in a jazz setting, íirst in songs like "Midwestern Nights Dream" with the Gary Burton quintet, and later in "lcefire" and "San Lorenzo."

Is the first to introduce the jazz public to what is now known as the "chorused" sound, using digital delay lines and multiple amplifiers, probably the single most imitated sound in jazz guitar oí the seventies, eighties, and nineties. Is the first to employ the use oí various types of specialty acoustic guitars (sometimes in odd tunings) in a jazz aesthetic. Songs like "Phase Dance" (1977) and "Sueño Con Mexico" brought the sound oí a Nashville tuning to a jazz setting. The songs "New Chautauqua" and "Folk Songs #1" showed the kind of rhythmic energy associated with heavy rhythmic "strumming" merging with an almost bebop rhythmic aesthetic in an unprecedented ancl extremely influential way. Is the íirst to use multiple guitars onstage, using stands of his own invention, switching effortlessly between severa! guitars in the course of a single song to explore the textura! possibilities of what the instrument can offer a jazz ensemble in a fresh new light.

10

Develops the use oí pure pitch-to-synthesis playing via the interface for the Synclavier guitar, which he helped develop (later heard as a lead voice íor the first time ?n "Daulton Lee"). During this same period, Pat begins using the Synclavier itself, triggered from the guitar, as a composing tool, pre-dating MIDI by severa! years.

Brings the use oí nylon-string guitar played with .ª plectrum to a new and highly effective leve! oí melod1c development on songs such as "Farmer's Trust" and "lí 1 Could" and later with the album Beyond the Missouri Sky.

Is the íirst to introduce the use oí the guitar synth (Roland GR-300) effectively in an improvisational environment. Pal was the only major jazz guitarist to seriously commit to the exploration of synthesis on the instrument and has not abandoned it to this day. His pioneering work in that area has resulted in a fully realized way oí using that technology so that it blends the tradilional with the present ("Are You Going With Me?," "Song for Bi lbao," "Endangered Species").

Develops the soprano mini-guitar with lbanez, an electric guitar tuned up an octave, heard on the song Letter from Home." 11

Develops a set oí instruments that practically consist oí a new branch on the guitar tree. Pat approaches Canadian luthier, Linda Manzer with sorne innovative ideas of what the guitar itselí could actually be. Among the instruments introduced by Metheny and made for him by Manzer to his specs are the acoustic sitar/guitar ("Tears oí Rain"), the soprano acoustic guitar ("A Map oí the World"), and an assortmenl oí tiples, miniatures, and multi-strung guitars. Their crowning collaboration has to be the 42-string Pikasso guitar, an instrumenl that has nearly the range of the piano with a timbre previously unheard in jazz (or any other genre for that matter), requiring a totally new guitar technique developed by Metheny ("lnto the Dream").

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Introduce. the sound of the electric sitar to jazz w1th the song ''last Train Home.~ While th1s sound had been occasionally used in the sixties and seventies on some R&B and rock tunes, 1t had never been featured as the main voice in a 1azz improv1sational context.

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Introduces the fretless classical guitar 011 the tune "lmaginary Day"- a nylon-stringed mstrument that allows a ne\\ k1nd of phrasmg. Also records with the VG-8, a new technology developccl by the Roland company, featured on the track "The Roots of Coinc1dence", which wms a Grammy for "Best Rock Instrumental" the same year.

Develops the PM-100 ¡azz guitar with the lbanC'7 company in Japan, the first radically new body ~hape in a major commercially releascd jazz guitar since the late seventics.

Develops a "monochromaticn alternative languagc to the instrumcnt on records like Zero Tolerance for Silcnce and Thc Sign of 4. This proves to be an mscrutable challenge to even h1s most devoted fans-a rarity in the homogenized culture thal pcrvades the agendas of most jazz and pop artists of the era.

Continues to develop the potential of a guitar, bass, and drums trio, one of the mosl challenging settings for any guítarist, by releasmg Trio 99-.00 wirh larry Grenadier and Bilf Stewart. Pat's other records in that setting are sorne of the most important ín jazz hi)tory: Bright S1ze Life w1th Jaco Pastonus and Bob Moses (1976), Rejoicing with Charlie Haden and Billy Higgins (1983), and Quesfion & Answer "1th Oave Holland and Roy Haynes (1990).

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Words by Pedro ALnar

(ENGUSH)

(SPANISH)

lt's likc clouds with sky, starts its fl ight the afternoon There are no shadows, it isn't real; tim e has van ished There are no songs to be hearcl ... The sun burns up its light lt's a town oi ghosts So much of this afternoon will drown, will erase from my memories the morning Heyond

Es corno nubes sin cielo, remontil el voela la tarde No hay sornaras no es real el tiempo se esfumó No hay cantos que escuchar ... Quema el sol su luz Es un pueblo de fantasmas Tanta siesta ahogará, borrará de mis recuerdos la mañana Mas alla

lt's the deepest blue, followed rny steps, the moon What streets will see me walk away rny loneliness? 1 don't know if 1 know how to arrive bul 1 know how to leave, 1-'ain docsn't veil the direction How to talk to you without speaking, how lo rnake lhe enlire sea slay calrn From thc sea?

Es el azu 1 más profundo, siguió mis pasos, la luna Qué calles me verán anadar mi soledad? No sé si sé llegar pero sé partir, el dolor no vela el rumbo Cómo hablarte sin hablar, cómo hacer que el mar entero quede en calma Desde el mar?

Wind of an eternal summer langlin g lhe while thread Blind-glow of January knitting bac k the shroud 1come to be thc salt, the stones to be born of waves and algae 1come to sunrise! To wake up the day Slow ly, slow ...

Viento de un verano eterno enredando el hilo blance Ciego resplandor ele Enero tejieñdo de nuevo el manto Vengo a ser la sal, las piedras, a nacer de oleJje y algas Vengo a amanecer! a desperatar el diil Lento, lento ...

Dream of the Return

Words by Pedro A;mar

(ENGUSH)

(SPANISH)

1 lossed a poern to the sea that took with it my questions and my voice Like a slow ship it vanished in th e foam

Al mar eché un poema que llevó con el mis preguntas y mi voz como un lento ba1c:o se perdió en la espuma

1 askf~ d it not to turn back without having seen the open sea J nd in dreams telling me of its visions

Le pedi que no diera la vuelta sin haber v isto el alta.mar y en suen ós hablar conmigo de lo que vio

Even if it never returned 1would know if it arrivecl

Aun si no volviera Yo sabrina si llego

Travel th e whole l ifc the blue calm or founclering in storms Little matters the way if sorne port awaits

Viajar la vida enlera por la ca lma azul o en tormentas zozobrar Poco importa el modo si algun puerto espera

1waited so long for the message thal 1 forgol returning lo lhe sea and thought the poem lost forever 1cri ecl my rancor lo lhe heavens til l 1found it, finally, written in the sand like a prayer

Aguarde tanto tiempo el mensaje que olvide vo ler al mar y asi yo perdi ilquel poema Grite a Jos cielos todo mi rencor lo halle por fin pero escrito en la arena como una oracion

The sea beal in my veins and set my heart free

El mar golpeo en mis venas y libro mi corazon

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i hi' hook is the resuh oí thirll'<'" yPai< of hard work-a nd fini shing it h," bPPll nnP. of the majar prujl'cl> ol the p asl f~w yP.m

for me. The challmgl' w.11 In come up wtth a

way of presenti n~ this mLtsil th,11would h<• playable by thl' l,irgesl

J\l'Rll JOY (MethenyJ \'VrtU<'n

in

1<)72 for tht> K,m..,_1., C1ty Jau

~<'~l1v.1I. Om• oi tli~ tir)l lune; 1ever trrcd

to \'lo'rll<'. l i k<' m.my o 1 lhct-t i:-.u ly tu nes, 1 Wil
vc-h1d<' 10 improv i~e on thJt :i\!l L1µ .1 w
book" Jppro,1d1 wnuld he the nlOSl d fil'il'nt way In rnmmunicate

vibi!.t 1J.w1d t-nedm;in on h1i, 11lhu111 Wlmcr Love, Aprtl fny. fC"'.1turing flut~ µ l,t\'t't l lul>t!r1 L.tw~. Recordtd o n thr alhums Pal Metheny Group and Wint er Love, April /uy by David fr iedman. (l'.1¡w ·r 21

rl1P PS"'ntial mtrsical iniorr11,11iu11 lhat would allow tht'"-' quitt•

SEA SONC (Mcthcn y)

group ol intl'rl'stt'l.i " """ i.m,, Early on, it was dl'l'ithl th,ll .1 "fakP

varied pit·ces to '-"' ¡il.1ypd r.ffectively. ünl' of tht· " "' I i"tJPS fm mt• was ro work with the nototion su

th~

mi>lodif"> would be laid

VVri ttt>n in 197 2. ir1 1\.11.:tm1, thl' firo;t dily J a rrived lht!rt• frum K.1ns,1s l ity- ;ili;o th<• first d<1 y 1 t•vcr ~\\' tlic o<. ea n; w lw :h i..;. k inrl of w hal im·µ ircd it. h rst pcrforni<'
0111 111 a kind ol generit fo1111- tl1.11 "· without too muth litl'r,11

b~nrl K.1 IPirlo'tcoµ+:. ~t íorw(lrd-thmkmH ~rxll"'t ílrmmd Mi.uni r'1um whic h 1 k-arnNl ,1 lot hy 1';<'11ing lo pa rti dµ.ite in, k""ll by p1an1st n.1n 11,wrlt•. The lUllf:! j~ played ruf-l.lll), ,unl lhc 1d<:c• willO to improvbe 011 the iorm whdf• c;f,1y1ng oul of ti nM::! Rec..'Orded on

infle< tion, so that hu¡w:fully P.1fh new performt'r oí" pil'lP will

lh. album Wdlercolor<. (P,'8~ 111

hove• rhc· b,i>it i11formatio11 that thl'y nt't'Ü tu rendPr the melody

BIUC HT SIZE LIFE tMethcny)

.1nd the hasic chord chan¡;es .1
lil m1;u y ·¡ 9 7~1 in Stou ,~hlor 1 , ,\.\ass. t o f'xplor<' lht• i .i o t u~ i11g ldff\e inte1v;t l d i¡¡ron i<· to a c hord, .i tt 111elodic elemf'nl~. Thc• ~ i mp le h,irr11011 i~~ in vol v<.' imp,ovis1t'K on b .1'11c triílcb. w rnt:!tfiing 1 have a lw¿¡~'" C"'11joy<•rl doing, Uut wliit h 1~ hdu..I to (1nd m th<' 1't.10d arrl jazz r~µcrloi1e of b lues íorm . lf',JJ;~ IS)

many hard-tu-rl'.id

rhythms and stylistically prt'jurlirnrl

intlitatiorrs nf how the song should ¡;o, bul ennugh that you gct the nÍIPn very specilic indit atiurrs uf wh.11 ni.kes the music wurk .lllíl he effe<:tive íor wh.it il is. r ur 1tw1 re.i
ye,irs, accurate cnuu~h lh,ll I will be able to use it 111y>e•lf for rhose síll1.11iu11" whrn a new mu, ic..:ian

cuml~

inlo !hf' hand and ·wc

nP<'heer ni,, tune to leam. Whilc this buu k dnP' " P~'ar with the titlt· • t h,. Cnmplete Collt·tliun," of rnur~ there are omis;ior». Amnng the things nor in rh1s hook are the hundrc•d "'

'

lunes that 1 have writtl'n uwr

the years thdt h"w nevPr heen recorded. Sornl' otlll't ¡1ieri>s wn e ldt 001 l1PC.iusr they seeml'd to be so thomughly defined by their 1.irgPly improvised pt•rlurrn.rnrPs that they might 111orp

i11 Rno;ro n. Tli is trio b l'<..(t 111t:: my wodrn1~ h;inrl for ~t µ+:riud u l lvvo yeMs. d t1ring

rh.11 are creditl'd "' Mf'lhPny/Mays tunes that " '" so

w,1y lo m,ikt:> ~1 l l·b.1r hl11<'<:. /ilCO r.1~1ur iu ~ g.we th1s nn<' lle; till!-'. R~cu nJeJ on the albu m

\.\'rnt<-rl m 1.inu,1ry 197·1 d> <1Utwe. lry1ng to finrl il 'SOl1"l~th1ng diífr~rent.

Briglot Size 1ife. (P;¡g" 21))

SIRABHORN IMPtheny) \•Vnt1ci1 ior (' gix "' th<' 7il'("()n < lub i n Su1rn:~n ille. ,\ .\ac;s.• <'.ulv ·197:, U.ico un h,.¡)~ Jrn.J Bub Moses on drum xt...lu~ively w1th C.ary Ourton 's Wn(.L Tlie turl e '' n.ctm<'rl íor Sirahh um Munf,1rhtiom írom 1h.11la11rl. RC' r ord cd on the album Brigl1t Size I if('. (P.1gt" 19J

MIOWESTERN NIGHTS UR EJ\M iMPthe ny) \'Vritt(•n 19 74, luuking lor m o1·e w.-1y.:; to t1ti l izl' t h~ lm iq LI\' ~ okn oí the od'! r1 1 ning~

l 1."·.1i;; í'Xplorin~ \-v ith l hc 12-;!rinp,. tnd('(I up bC"'ing pl .1y,1ht~ in i...:u11 ven1 io11.~ I tim ing.

of l yle's music in the future "' wPl l. And then thl'rl' are sorne songs 1hat wt•re sim¡1ly íor¡;otten or oVl'rluuked wllil it was too

OMAHA CELEBKAll O N (Methenyl

,1p¡~r~1ri.llP ly placed

in what i> thc >me PvPntuality of a songbuuk

1.rtc- ,lr!d rl was unthinkablc tu ¡XJstµu ne lhP hno' any longcr. In many cases, 1 wurkc'tl harrl with the editors to condl'n>t' rlw pil'Cl'I lo their , hortPSt possihle lengths by rt•nrtrving morlulations, rl•dtrt ing or.-lwstration dctail;,, a11d m,1king PVf'IY effort to pare thl' ¡lif' f.'llli,lfS, in order IO kCl'[l this oook

.lS

manageJolt· «S ¡xmrhlP. But in sorne l ""-"• there w.1, nothing to 110 l• rl 10 write out seemin¡;ly l'VC·rything. Thi~ music is offert'l.i

\'\'ritt~n in Om..tha, Nebr,1sk,. on an r-Jrly to ur w ltli (jj}1 ~' 8wto11, 1<J7 '1 ThN<' \.V,J) .l gr<•.11 h.mtl µl.iyi ng in 1he loung<' of th1~ hott>I th..11 W\' we1e st.w1ng i11 Thry wPrP e .lll<'ci O•lt->br JI ion. Thcu gu1tM1st wa~ frint.1
NA(J\ OA (Metheny) \h1tteri i n V<1 nr:ou vm, Cm..id,1 tlur ing a c_;ary A11ri on Wl'<'k lon g eng,t).:l'ln~nt JI ·' dL1h ~. a l led O d Cin l lilrry's. Looking íor unexpe(."t'.'d 1'110fh 1l í1tion <; in ~\ ~hor t fnrm b.:tll.-u l Uedicatrd 10 C.1nadi J n "J i ng~r J,rn11e M au ro . Rrcnrded on th~ dlbum \ 1

Piu!if!ngers by

the GMy Burton

Quarl~L (l'JL:t'.' 1.J)

IVY (MPlhPny)

vuriety of inslnmwnt,1tions. Pleas<: rk1y il, c. h.rngP it, arra11ge it,

W111ten for my hrother M ik~ M~l hcny's iirst rt><·or t rt."f.,01d date-s, as wdl ). Recorded on th~ a ll>u rn

;rnd íind thi11gs oí your own i11 it- nolhin¡¡ will make me haµpil'r

Blue

1l1an to hcar futtffl' versions nf tl1ese tunt'S through the prism of

LAKES fMt>t hPny)

hcre lo all musician> ""'' ;, r.1p.1hle o1 being pldyt'tl by ,1 widP

oth<·r llt' IP\ musical voiccs anti instinc l,. Following is a tunt>hy-tune oí eJd > p•el f', with a iew casual nott•1 ,11.Joot each tune'> hislory and origin. Enjoy the mL1>il.

-Pat MelhPn y, /anuary 2000

l

MISSOURI UNCOMPROMISED {Mf'thPny)

too. ,1 <: r<'<'OrdC'd later Uy (j,-u y ~urton 1hr- h.1i;;c; ml'lody JI 1h~ pnd w~ls wnu,..n 10 StuttH.1rr, \iC'm1.1ny lhti- n it;hl be1u1e 1he r('(.ord d;itC' Wn¡.:hl Size U/(') whC'n l 1e.ll1zrd 1h.ll 1 h"cln't wn11rn a mt->lody íor J.1to to pl.vf by h1m<;f'I( on lhP wholt> rcturd -and lw w(l'S so goorl .11 lhat, Reco rd~ on the album Hr;ght .~izr Life and P;useni;ers by the Gary Burton Quartot. 1P.1y" 22!

ovcrwhdrrnngly 1ylP'< tunes that 1 Íl't'I th,11 tlrf'y will he more

"""

v.1h1 r h t1m<' wP develupl.-'d _. w,,y l1Í ¡Jl ~ying t0g<'thcr th.11 !J t~r r~~u lteo1.l in the Hrixhr Srzc I df' r<'<:ord . Thi~ lt..111\' i~ d clic1llengmg o n<' to solo 011 rhytlimirdlly and hMmon itoetllv. Rrcorded on tht c1lbum Bright SiTt• Lifr. (P.1gP 1 li

appropri.irl'ly lx, int liorlP
-

UNITY Vll.LAC.E (MP.thE'n y)

UNIQUtfY ROAD (Metheny)

a lilPr.11 "book" of the

~

\.Yritti:n in J~1m1.1ry JtJ74 in StOlJ~hlon, MJ))_ th~ s..m1e n1ght, \-v ilh rhC"' 'lílnw idt»l Out rni nur .1 11t.I slow('f. " Unily Vill.i~t-" i!i J ¡;ldi...:c 11 e,1r m y honwtnwn In 1\<1issotui th,1t 1 s µt' 11( J lu1 o! gre.1t summ('r d.1yf.I. Rccorded un the a lburn IJright Si7r lile. (f'.iµt- 18 1

\.V1íHen l 4J74, S1011ghlon, M,b). U11i4ui1v 1<.o,1d 1s d ro,ui in th(• íllu~ Hilb .uc~• of ~ulh )Ubu1ban liostñn. Thi.-; W;is written for one oi the itrsl Kl~ MO<Ses, wi th whom l w,1-; g<'lling to µ l ~ty riigl 11ly w 1t h L,1ry H11rton. Th< • ~¡ ~ 1,\1J~ J l ,1 µJ,1(e c,1lled l-1ooh'.; Pub

,JS

1

l e~1ps,

were written. An i111pnr1ant goal ior me was that tlu, mllP<:tion

n111,i< that 1 ha,·e playcd .intl !Jt.en invnlverl in presentiny, over th<•

-.!

\·\in ltt'l'I

IP..lfl 'hL>ets that we u>ed to rt"tnrd or learn these son¡:s when tlrr!y woultl 1,.. ,l(rurate enough to functiun

438

!'i I~

1

By Pat Metheny

'"·1·

1

l•r Sessions by Miko Motheny. rPJ~e 2'1!

\'\'ntten fnr a h ;md lcd b v M~111µhi!o pi.inist famec,; \Villi.1m<., .1 guOO lrit!11d of mme sinC"e 1!.JbH wh<'n wr wt>r~ lxJlh ju!l-t k id). H is band (ll lh1' timr .Kt utl lly \VJ~ .-t 4u'"11tel wilh (.l Lu d o. (Jaco h,ln f:(H \<' on to joi n lht• bJnd \ o\/e;.dhe r ~eport ..uounrl thi 'i time.) Th ..t l 4 u d rlt-! com.1st1·d oí C il Colti<:.t<'in on piano, 4'-11kc Kic:hmond on ha<:.~, ;ind D.im1y Gottlieb on dninl". Rrcorded on the album Wdlercolors. (Pa¡;c lb}

1

1 .., j

n

n

'

~

'

1 1

1 1

1

1

1

1

1

1

1

1

1

1

1

'

1

1

N WATERCOLO RS (Metheny l

NEW CHAUTAUQUA (Methenyl

\.\lri!!t•n in C.1111fn id):t', ,\-\,¡~~ .• e,1 dy 1~1 7ó. 1\ melody t hat :.tt Kk w 1th rn(" on ~ w

19 7 1!. \o\lntl<"n in 1\1.unich, C.N milny ilt thc C'nrl of il Ionµ. [ u roµean tour. A song tüxrnt 1 rr:'<> S11mmil ilnd th r ff'C' ling out lhNe. M y gre,1 t gmndfa ther, Mos.es Metheny, was <- rn('m h('r of thf' lrilv<' lin g mtn<>t rd mgilni7 f. M y WilnrlfrlthN ( ~ larrison¡ oncf' rommf'tltí'd to me th at he felt that whélt wC" w('rf' d o ing t1I thf' t im<' (fravf'1ing '11 1 o vf'r th<' pbr<'

hoiru.' !,11t • ,1l 11i¡:hl ,1f1cr· .-1¡:ig. 1he t han1;e s. are t f-le kinds o f r_·hanw."s th;it 1rcfllly Joví"

lo p1.1y 011 ~i111¡;!t.•. hut upc11-tmded. 1h is was first pedormed on the first gig 1 l•v('r ~.1)Jye< I \.Vilh Lvlt• M.1v... , .it lhl· Zirt·u11, in Som erv i!le, !\.1.:tss ., Jt1l y 1'J7ó, riRht re~l v i lhe l>~md w.-t:. Stcv~ S\.vrtllow on bass, <1nd U.:m Gott!ieb on dn 11w., _R:ecordcd on th~ alhum W.aterculor.!J:. ( /1.igf1 28)

OASIS (MPlh Pny) Wn!ff.·11 Jtl?h, C.1mhritlg<', M,1-:><. . C o nc:<'iV<'rl ,,., ,1 mf'lorly for HX'rh;ml VVt·l"M~r to µl;i,y o\.Tí ,:1 wholP h1ind1 1if ovudu h l><'d l 11-qn ng h
Gcrm rcolnrs.

//).rJw WJ

RIVER QUAY {Methen \') V\"rilll'n tor d1t• fo~¡ '·1uui '' l 1..· vc1 gol lo do ,1s (1 leadet-t'\.vo n ir,hts in Chic ar,o at thc i1 m.11ln,1::gr.u <' d uh ,uul si x n ighls in K,rn:'..J:i Cily .11 J du\J i11 lht..~ " l{ivc1 ü udy'' dre.1 oi town . Thl' 1 luh v\ ,1-. o¡w•n for ex;:u:t!y one week \.Ve oµened it ilml do:'.ed it. The l•.ind w.1.. l ylr M,1y.:;, p i;rno: MJk(' Kichmonrl, híls.s ; íl nrl ílob Moses, drums. \1\lr itte n Su11rnH·r 1c;7f1. R(l'cordPd on th~ album Watcrcnlors. (Pag(' _J 1) 1

THE WHOl'PER (MPlilPn y) 1117h 1 k<J 11 Jtnl tn Hlf'rh,1rd \·Vf'!H"r \·Vr1ilf'n ,1<; ,1 tlmr wilh a lot nf rhythmic í1Cct'nti; .irnl

.111 , 1l

!i vt • h.1 rrno nk s,( -ht:'me-tl1(> kmd s of things th~1t Crtry Rurtnn wa">

pi.w in¡: rnu~ir) was somerhinr, 1ike rhe '·'New Chau tauqL1a " t h.i.t lw h.i.d h(>ilrd hi 5 íal her lalk .:1buut Tht:: tu ne f~ature~ d k.ind o f rlwthmir. strum ming 1h.11 r h ave ,1lwa ys lov~d to do, featured h~re for the lir::;t lim e un 1.m .-1UJurn. Recorded on lhe album

New Chautauqua. rPa¡;(' 62)

LONG AGO CHILD (Methe ny) 19 7fL W rittcn in Munic h, GPrm.Jny. A st:'rie~ ot d1o rd~ d~~igned tu IJt.> overdub~d ;is ,, tf'-xtt1r.1l p i<'Cf'- an o ftC'n ' 'nco ur.igPd way of milking mu~ir tor [CM recordings of this J)f'r iod. R:ec.ordcd on the album Ncw Chaurauqua. (Pag(' (i 1J

HERMITAGE (Metheny) 19i 8.

W ri tte1 1 in Sdw,..
br

Ol lf good fn(>nd <'nd

~umeli11 1e::i roddie. Jo H.irlin1;:. The cl~1 b w.is cal led "l:rmit.ir,e"

.md was ~i red! favoritl' stop for our lMrnJ <:i !io weJI il~ 111J 11y uthe1 rnu~iL i dll !:i l1.:w ding dround Europe The tu ne ilse!f b Ua::;OO 011 a :'. irnµl 1.;,· arpcg~i o w ilh .t í1:::1,ov dt~ct::µlive modul.llio ns hefore the simple m inor-ke~' hook at the end. Recorded un the album New Chautauqua and an other version on Charlie H aden's Quartet West. rrag e 64)

l'~fWt i.1l l y J..:ll'.I! ,1! ~u lui11g ov('r. VVritlen for G.l:i.'s bancl, whi ch was o ft('n touring

SUEÑO CON MEXICO (M e theny)

\·Vil h Lht•rh.m l d"' .1 gut'!-l duri ng Lh i~ µeriod. Recorded o n th~

l '.>78. \oVritten in Chio, Norway ¡11<>t br-forf' th<' r
a lbum

Pds5engers by

the Gary Burtnn Quartet. (f',1ge J 2J

IT'S FOR YOU (MNheny/Mays) ~t.lrlt'

M,ly 1977 , Orlilndo, ria . Tlw t irst µ iece that Lrle ;rnd 1 \\··urked

011 lug~lf~r.

Jt w.1-; fm 1-.h(·d blN in l lJ 74, \1Vatf'rtown, Mass. jusi before it WJS reie.;orded o n lr\'rclut,1 . 1\t tht· tmw. vvt' wr·rf'- ho th tnwin~ a:c; m<'mhPr"> of the backup hand tor ~inge• M,11l('ntt Sh,w.··- 1 h,1d ¡i isr ld t C My R11rton'.¡; h;rnrl ilnrl Wil"> ilnxiouct l o gr-t going wilh m y own h,md. Lyle h.1d ar,reed to movc to Bo5to n ()nd ¡oin, but hC' \\,.(1S

disLOV€red lhese two simple c hord/arpegg ios and built a tun e a1oun d t hcm by dMng ing U<:A~~ no le~ tu give difíerent me,minr,s to the dmrds. O ne of the few O!:ili nato-Ua::;t!
DAYBREAK {Metheny) 197fL \ r\/rittrn in Munlrh. Strumm ing WilS agíl in a prime comµon ent in the wr ilin g

~ omrnillt•d lo fi 11i ~hi11g lhi~ tou r w ilh Mdrl e11 ~1. the y su ddenly needed ..'l. ~u it ar phyer,

f)r(wes~-thi.c;

~) 1 <, jg m.'il on lür

on the 4'1bum New Ch.,wtauqu.1. (P;i¡;f' 611)

11KJ11th ur w u f gi~~ . Dur ir1g that firs.I w rit inp, session, the m~i. in bod ~, of llw lutH' w.1s \·v ri!len the miUdle Lour1lerµu i11l ~eL.li o11 Wd~ nol wrillen unUI ,\ f( •\·V y(',Jí"> l.i lt'r. Recorded on lhe a lbum As Fa/Is Wi<.:hita, Su Falls Wiclfíta F•ills and anothcr vcrsion hy Akiko Yano. rrJ;je J (,) .1

ti mf'- it wri.:. f'-rir!y Rf'M[N nllJ"> ií lh.lt prnvidC"
AMERICAN GARAGE (Metheny/ Mays) 1 ~ 7<J. J am,11e~i. fJ!ains. Mass. ·1he o r18i nal li ck th~t m.;krs tip tht:" b ass linr íor thi s w rts

wrillen in 19 75 for a s.mal! co1icett wi th iohn M c l<ee ,l t Un1ty Vil lagf::'. 1yle

PHASE DANCE (MPthPn y/M,ys)

d~vt! loµ~d l11e pie<.:e further wit h lhe intro and !he ided fo1 the íirst ... ¡\" section, and

Or1 g111.11!y writ11·n in Jll /i) for .1 gig vvilh my hrnthf'r M ik(' ilt í1 duh c.il led Ry!e\ in C.1mh,-1dge, M;w.; VV•· a! m pl<'ly<·rl 11 fo, th(' l,1<;t y('ilr 1 WilS v..·i th lfl(' Gilry ílurtnn

togeth er we carne uµ 1¡vith the Oudy o f the tu ne J nd tli!! ::io loing ~t.=>ct ion. Th i!i vva::. ano ther on e that reaJl y kim.l oi grew beyond the note::; u n lile µage from p l.1yi 11g it n1g hr ilftt'r nlght. Rccorded on the alhum Americ:an Garaxe. (l\1ge 7HJ

(!u,tr!t'l . lt \'1-"l~ origtrlrl lly wri tten when 1 stdrted expim merHing wi th ¿¡ " Nashvd lí'

luning " ol , 1 L"o11vt•11tio 11,d ¡~uil
JACO iMP!lw ny) \•Vritt1·11 fm 1lw -..1nw ~i,i.: in '7h with Mikf' .1t Ry!P'<;. Thc rea ~on

it is c.1 ll ed "hKo" is

hl'c.lll5L' 1n.'.1lizc, I JÍt<.·r the fo<.: t t h<1t th<' m élin mf'lnrlic lir l of thf' tunr. ict rr~tty muc h likt• tllt' horn lint• o n ¡.,1. 0 '5 tuni:> " Come- On, ( O rll(' OvNH-.1nrt r.11hf'r thiln r rC'trnrt 1h.it il wd~n ·1 , l ju ~t dedicated the !une to h1m. 1lie intro cmd outm of lh<' tW1<' Wil<; .n 11.1,1lly- w1i\!c11 iur a1 1othe1 p iece writt en 1n ·11.> 7 1 vvliile still In h1gh srhoo l thflt 1yl<' l.ili;•r ~pruu·d up h.1m1<.Jr1i(._.,d _ ly owr !he <,ourse oi pl~w i np, 1t on orn l ive g igs during l ht> group'~ i ir'> I lo uring y t'.H. Recorded on t he alburn Pal Melheny Group and also vcrsions hy th~ Turtle l sland Slring Q uartel and the !!iin ging group Perri. (J'age 41}

(C ROSS THE) HEARTLAND (MPthe ny/ Mays) At som(' po1nt in '7B, 011 one: nf our brrilk'>, ! yl<' rl ici hi"> O\\··n gig ,11 Rrlr's in C.1mbri rlg<', favoriK placC" o f all of our.:; ilrülmrl th.11 rim<' to h,mg OlJI in ilnrl plav. ror th i"> g ig h<' brouf{ht up sorne friends of his, fro m O.:i!Jn5, l("x.¡¡o; v1.:l1trn1 h1· h;irl p l;iyf'rl vvith wh il<' ,1! ,:1

sd1001 there_. ,md used tfl€ oc eas ion to write sorne new nlllsi._.. 1hi-; pie<:e w<15 ont' oi tl1e111. lJlcr, wc t Jme up w ith a \.vay of doinf~ it ior the PMG, indudinp, the beautifu l ba...,:s interl uU e 1hilt lyi e wrul~ fu r M<:irk Eg,rn lo piar (lMsetJ o n a dlQrd sequt>nce 1h.:1t 1 hild written ior my brolher arKt 1 to µl ily dl m y µJrt!nt~' JOth ilrir iiversdrv that s..m1e y"ar), í1 nd t hen we c;:¡m e up with the ba.,:ic b lowing iorrn lhat the gl1it,1r :i.olu uri the mit ro I"> hil<>M o n. Recorded on the album American Garage. (f\igf! 70 )

THE SEARCH (Metheny) tn l 97B, vv<' WN<' ilpproilchNl for th<' füst ti me' lo write music to íK compí1ny visual im ~ ~rs , Th<' proj('(~t w as ,, SCt<'n((' SNi~ ior htgh ctchool ~tu arch fm 5olution." 1his \va s the nMln theme thM w ;i s vvrittcn ior thr- <>t: ri('S-t' Ol1í f'i\ Cd ~'lgJin usinr, ~in unconvention~i.lly tunee! guit.ar, t h1s time a 1/ -strin K ttmf>d ftll in 1

SAN LORENZO {Mct heny/ Mays) VVriH1·11 Jrn1r· ' /l A~ w ith tlw tunP "lrefirp" (an improvised !:iolo µie<.:e Of l lhe ~\1; 1 f('1T0Joi....- rrnmli, th i-; pi1-rr· l)('gan v.-ilh ilnri tlmrrl in il p<':ntil tnnic ".' lt h-y" kinrl o f ~y~tP1 11, \ r-ry hir,h. l ended tip with

,1

few melodic phr S thri t J likf'
1loh· pl 11.1:-,(', th\~ "h,m11011 io secli on" that recurs thr0<.1~hot1t the tune, C'tC. ). \o\lilh 1yl r ,

ow r !lw ('OUr~e o l et l'tivv d.w~, we \Viole the b..isir an.:m r.ement, usinr, those few phr,1~~ ,1., the IM... i< ruL1teri Jb, 1.vith l.~· le Jdding o lol oí new nidodic materia l. 1he form oí thC' long improvi">t-•d p ¡,mo :>.olo evolved trememJou::;ly u ver thc cuur~ of 1he nf'\ I Yf«H fro1n ~t'tlín~ p!ay<'d eilc·h night (s.ometimes tw it.:e; we o ttcn µ!L1 ~·e<.j l\.vo ~huw~ .1 rn~h! in 1ho-;c; rh y->.>. Rccorded on the albums Pat Merheny Cruup and Travels.

w.i.w· ''"'' LONE JACK {M<:-t lwny/ Mays} 1hC' h.1s1\ turn.>

\V,1"

(rnother on<' wnlff'n fot lh<' M ikP "'Rylc-'s g ig" in '7f1. íinished

w1th l yle .l(ld in¡: the 111terludc/i ntro/0 11tro 1n 111111"' o f ' 77. An f';l c;~1, fu n tunf' to pli1)'· Ret·orded on the ..-lbums Pat Metheny Group and frío 99-+ 0U. rP,1¡.:c :'>OJ

APRIL WI ND \Metheny l 19 77. l hi~ Unt' w.1 ~ ru:v t•1 pl<1yetl l i veil was w ritten as a spec ial p 1ece for tht ffrst fl1\1C rt'<._ord .i ~ J kind u t rr i~c (o 111~ '· P ha~€ üa1K t> " mot if th at 1.vas suc h a part of lht• group\ t~arly id e11 tity. 1 •..vJnteJ to wrilt! d rrndody fm M~lr'k Ei::an to p!a ~' ">Onlt'\VIH•r( • on th<• r<'(·ord lo ie~1ture h i!io ] Jl'U-e~que ~uml d::i thc le.1 np n 11i1'11 of rh.-11 Ttfftf' ilnrl thill r ctlill rf';¡Jly loV(' to play over. Recorded on the album P.il M l'thPny Gro11p. (Pa,;f' 14,1

octavt:~ from lhe A below the norrn.il low C. 0 11 ,1 rer,uJ.-n r.u if f:.'. h~uJ J110l her ~t 1i11g dn oc lJ.ve h ig.her ;1hove it. This so ng abo teJtureU Lyle·~ lrJd~11 1 ,-u k OUt•rhcim wund ldki ng lht:: l( ,1d for thC' first lim e ai; the µrini.uy· voi<.:~ in ;_1 ~ong. Ret:urded un the alburn American C;ira,gc. (P,1gc 7SJ 1

AIRSTREAM (MP!heny/ M ays) r he nial n "' ho ok" of th1':i tune was on<' nf t hosf'- thing ~ that 1 hM:I furl fl oiltin g arotJnd for a few years that 1d1dn 't really kno\.v \....·h;it to do w 1th. 1y k íf'-dfly w.1 '1 ;l h l<' to hclp

m e define a context for thi s cooJ little musical 1dta, a nd it fo und <' homC" . Onc- o ( my favor ites Qf our work together du1·inr. t his peri od. Recorded on t ht- <1 lbum Amerirnn Garabe and a vocal version w as recorded by the group Perrí. Wagt> 82)

THE EPIC (Methe ny/Mays) \Ne lilugh .-11.Ju ul th i ~ on e .-1 lot. 1be! ieve 1hat lhis ma y be the on!y lime we sal dm\1 n

wi th nothing, no ~ketche::; du11e by un(.! ur lhe o lht:r uf u ~, just b h:111 k µieu:·~ u f po~r, í1nd trif'r:l to w rite something together. lt rna~' 00 J fealure of lhe µiet:e, ur 111.1yUe 11ol, hut th<' tunl' is cert .iinly J fl over the maµ. VVe h ad the nulion oí t'xµ.imJing u n the idC'él of hilvtng,, piPC<' thrit Wí1<; í1lmo"tt likl~ a ~uit!~ in itsdf \V ith lots of sections and an tlt1l 1SU!ll form _1would <;,1y Wf: if'ilrnf:rl il lot from lhf' prPpamt ion í1mi pertorm,1nreof t hi'5 pi{"U' t hat scn:td 11.:. w<'l l b1tí"r cin RC'corded on thc alhum American C.ar.Jge. (l'.1¡¡e8b i

EVEl!Y DAY (1 THANK YOU) {Ml'lh t'ny) \.Vr i tt~11 19 i 9 whi l€ o n tour with the fJML in " hote l 1oo m i n ~remen, c_;e-rrn any: Simil
439

A

-

m¡1dl· me ~!.tri thi nk ing ,-lx1u1 maki11i; the rN"orrl 8(J/81 with 1\.tikf' Rrl'."Cker-il was

AS FALLS WICHITA, SO FALLS WICHITA FALLS (Melheny/Mays)

eJsy 10 i111Jg,int rel="nofollow"> ho w wd l he tuultl µl ;iy .1 l1Jnl? llke thb ~ven though al th.:it µoint in

1979 1980, W '1tenown , M ..i ss. rir~t thcre wa) 1l 1e irle.i ()i having d pieLe fh.11 \'\'Ould

time ht: h.1d n '1 rlone any1hi11g 4uiw lik<' th 1s. Rewr~ o n tM a lbum 80/81.

clLl u.:1lly begin Mteen m inules or "iO h<'fOTe wE:- dt:luall y w.ll kc-d out onst.tgt> for ovr

(l',1ge9J)

performanc.<"4', one tliat wou ld gr;icl11r.lly b u ild inlo \.\'hal wou ld be our lirst hJnC' of

80/81 (M et hPny) W ri l h.·n in early 'HU. L>ewey Rl'<..imJ.n h;irl been anc.J )Li ll

i11:;

o n<- o f m y iavorile t~nor

ex<..it~ to h:iv(' h1m u) on 8 0/U I . lhis with D"wcy '" mind Recurded on the album 80/81. (P,1¡¡c 96)

pl.wel)., ,1nc! 1 was so

tun~

was w riltrn

FOLK SONG #1 (Metht>ny) \oVrinrn rn e Ci de:, tu roncc 111ra1e 011 ::.inglt- notC" or mo re :,Oloi)I kinrl~ o ( pJaynlJ1. Or, ií you b<xome el jdu

m11w.. 1an. the k ind of chordal pf¿iyi11g onf' rl<X'S ten&~ tu ~omC' more p1.:.n i)lit:. W 1lh lhi) µ iece, l w.intc>d to lry lo Uevel op a rhythm guitar ro lP t hat would Ut! ..K t ive Jnd i11 nmst.int cou nterpoinl to rh<> h.l4'§ and the Urum!\., ;md in pitrti<..ular In f h<' rmxlern ki nrl of d rummioH lhJI 1 kn<'w would melody, p!~yed

by

Hr~ker,

be coming fro m Jack L>elohnert<'. The

wa<; Imple om~.•1s w .1 s thc h.irn11.mic f l;wor of the

pi t~CC' . Ali t he moa~ ext:itin g t htn to hetlr w hJt Brr:ck('r d id wi th it JI/ on i hr- h?cord, in my (lptnion um~ of h1~ hC'4't record~ ~loco. R.ecorded o n the alhum 80/81.

w.w·•11.1J

the night. l y lr. wl'Ote d Uemo vf'r5io 1i of w hdl lh is p iec.r \.'\'()l1ld be like, Lrnci wr mitde l Jµt? of it th at 1nclu Ut! ::.O.), wr .1 ht1 nclondeU ihJt ide.1 prrtty quil..kly but p.ur of th~ll µ i l~t:e i(ltC'r beca •nc the ~'<'<>nd par1 of tlri> p iP<'.<', tli(' idea of wh i<:h w;i~ that "''~ woul
1nstru111e nts - and ;igan1, the ),une l 2·!>tfi n8 tw1í11g that c1pp<'M S on " Tl 1e Se;irch. ~ 1he t..O n<..:ep t w,14' to go ahedtl Jnd u ~<' Th (' stl1dio ilself as .1n m.strnment l.;y u tili1 ing o ve1dubbing tC'<' hn1ques J11U l o try to crea te il piet:e ih,11 wou ld e)~nliJll V fill a n entire ~irle of an dlburn. This al hum also 111•.ukt:!d thP first of severcd coll abor,i tions wlth N.1n;i Vasconte los, lh P ílraz:ilian pert..uss i oni~t. whose co lo rs
Recorded on th c o lbum As Fall• Wichita, So fdlls Wichita Fa/Is. 11',1¡]<> 116)

ESTUPENDA GRACA (Melhcny/M ays)

---..¡

19 110, VVate rtow11, Ma!i ~. Usin g yet <.1 11o ther 'l 2-4'trinK t w1i11g. l h is i~ .1n r taborat io11o n

THE BAT (Metheny¡

a hn ('f ser,rnent ot th P t11nr "'l\.m.ui11g Grí1cr."' Th1s wcJs 1lie flrsl timr w e h..td cl11yone

l 1J71J 1hi> b J p iN·<' wnt1en spe<..ifü.Jlly for Ocwey t<ed111Jn lo p lay. Wtth one of the mml '.>Oull uf and rxpress1ve tu11es in jn17, n ewey ' .i!n rnakP a h
sing

OFFRAMP (MethPny/M ays)

The tillr i4' c1 rcferenu~ to J nickn;ime for Shu Shuh.1t, who went on to hcc.<>mc the íounrírr of the Je lleyt- ~ rform;in cc g1·m1p. Re..:orded on the album' 80/R1, Offramp,

d~igried to o;c"f 11p a p.;arl iL u lar kinrl of improvbJtion. Tht-

and Billy Urumm
Moti• n. Recordcd on the a lbum Offramp. ll'•Btl 128)

PRH TY SCATIERED (Metheny)

ª'' dLlual m rlody on ilny uf ou r rff'ords, 1he singer h<•mg percussioni)t /\:,m;i

Vaswncelos. Recorded on th e ol hu m As Fa/Is Wichito, So Fa/Is Wichita Foil.<.

BQlfl l, 1 rlid a nuni~r

of g1r.s wilh diffprrnt mus1ci an) JI Rylr.'~. l rymg out n~ mu4'iC. Th is pieL~

E>BO. A 11u ther piC"CC' w ritten fur ! ht• t o t1r w itli Uevvey. C:h;irl1r. ancl l'd u l. A p i<•tr title
1~80. Willow, NY. Thi:s

Wd::.O

in t ht> fir.:;t batch oí tune::.. th.;u 1 wro1e dÍler 1 hC"g.1n

w.1!'i

worki nK wit h thc SyndJvitff, a new {
w rillcrl tur 01 gig th.it fe..tlLlrl..d Bob íl<"f'K 0 11 tef tlJf, une oí my favorit~ µ IJyers.

thdl all owf'd me to rnc1ke multit r.1ck rccordin~) .irnf m;rn 1 pul~te mu>it al d.itil w 1th ~1

lh~

• lbum 80/81. (f'ag<' )(HJ)

t.:omputrr. Because 1 coulrl litrr Jrlv fullv real1Lt:d

GOI N' AHEAD IMethenyJ Wrin~n

<'Mly lYOO. lhi~ wds origfn'111y a qL1ir1tl;ll pier:c written for lh~ 80/fl1 rl;itc .

We t rir
!Je< .imr de-ar lhilt we wt>rf' goi ng 10 hdve

rrmtmber u~ i 11~ fhe. '' hrn1SCH r,uitd r <~m olrl lh:mc-z) that WJ~ t nerr. M the st u
the acou)liL 1 harl hrought wi lh m e.

ver~inni;;

of tunes very quick ly. One summer dny, ! w en t r'or

.i

wnl k in the woo<.. b,

cam <" bac k in lh e housc, ;ind playe._f this pi~rr into the 111dthine. 11 4'01t of c;u1tt: Jll n~ o oe thi ng. J nd 1 clirln't have to Ll1Jn~w anythin~. (Good t hing; clt

1hat poml, you

couldrl't reJ lly
fomi witli

the C.R100 guitar )y11th , ,1noth(' r

relJlively n<'\\' 1nstrum en1 ío r mC', a c ertai n new wunci w.i~ possible thoit 1 harl n('ve 1

Kecorded on thc olbum 80/8 1. (f'a¡;e 102)

cxperiPncr-d beíore. TI1i ) rem;ii n~ o ne of m~· IJvoritc• fttnP.S to p ldy. Recordcd on the albums Offwnp and Trawels. (PJxe 1321

BETTER DAYS AHEAD (Methenyl

BARCAROLE (Metheny/Mays/Vascom:dos)

1979. Writtrn on tour w ilf1 tlie group i n Fulton, M i)souri. In fac l, for mc1ny years, lh<" working titlr of this song wJ!I " r ul ton ." 1his i s~ reJ.1 1;- ftJn ;ind c h.aflengin g tun(' that ~layed

c._ l

(/'J~t' 126)

ARE YOU GOING WITH ME? (MP.then y/Mays)

W ritten early 1980. Dur inK the periu
Recurded on

--

in thr Kr0l1p'~ p l ayli ~t wilhcu Jt evef bei11g re<:orrlrrl íor m .an y yeJrs {unti l 1~Uj~l

tu tK' ~xacO . Recurded on lhe • lbu m lelter frnm H ome and the reccnt 8rad Me hldau/ Fleurine duet olhum. (l'.1ge 101)

1980, VVillow, NY. At~ai n, J Syndnv·h.ased pit'<..:e. Thi<; j<; rf'aity .1 )ket<:h o f .1 n 1dta ora moorl that wounU uµ being mo re m le)) .in intro o n th e ret:ord for '' Ar<:- You

Going Wilh Me!' Recorded nn the alburn Offramp. (P•ge 129i

EIGHTEEN (/\l'etheny/M ays¡Vasconcdos) 1980. W illow, N Y. As hd~ haµpenf'
SEPTEMBER FIFTEENTH (Metheny/ Mays)

..up.. to h..1lance 1he ba.llJd::.o anci m 1d-temPo lu nes t h
P;irt one--wri llen in ·77, C ambridge, Mass. P.ut lwo-wriUen in '74, f vans1011, 111. Roth frnistx...U in '(10 in Walertown, M,1ss. Th11' is an ex ..1111µJe wh r.re Lyle ,HH.I 1

wJs a c.omponenl in this. To mr, t h1s lLin~ dlwJ ys had

comb 111(•t/ lwo tunr4' that we hdU wriltcn !;arately intu u ne. Th<' opening "bJ l/Ltrl"

insist<'fi that we were attC"m ph ng to rip olí Stl"VC' Rric h's Mu>ic for

w.,¡~

irif'a so

w meth ing 1h.11I yle cornµo~ w hr n h C' KOI h1!» íirst OhPrhí'im polyp ho11iL ::..ynth

du,i11H l he e.1rliMt days oi 1l1e group'c-; first reliears..tl period. The Íasl er wJltz serlion wa s somrrhi ng th~11 1 hJd orii.t fn.1ll y written fur th e g rou r Oregon , whum 1h ilrl hcC>n ~ing ofl('n dunn~ engagrmrnls where th ey wou lrl r>lay e>ppu'.>Ít~ thr

Rurton

qu.utC't. Wht>11 lyl~ ~md 1
("Omp\enl€11ted e,l rh <>l htr. AroumJ lht> tim<' of the r~orcfing, Rill ~ Vdll), om 1mpOftJ11( fi!;ure in hoth of our li\.~~. S<Jdly pas(jed away. 'lf../e dcrli("tltcd this µ it.'<..e fo Hill. Recorded on thf! album As Fa.lis Wichita, So Fa.lis W ichita Falls; also ret:orded

b y Ma rk Murphy. (l',1r,e 101¡

kind of ro<.k Jncf roll , Heach

convulul~d

tn Musin.1113,

Jn

Ltnrl hi1arre th~ l if it h.1cfn 11 been so ri
have been funny. íl11t. that si lline~::.. eV<•ntually r,a1. e th~ song i ls t itle-"'Eigh!e(!n ." Another 11olJbJe cirrci il of th i) µ iec e is th;ir 1yle camt- uµ with th(' m3in gu itJ r "r ifi" on the g u itar (wh1th he is dt:lualty rra lly good di ¡Jlaying), wh1le 1 did rnosl <>f lhC'" 1

keyboJrd partG 011 the ~yrH.:IJv .1s rhc p1ece wJs h~ i ng com poseU. A fter wf' h rir! it fle)llt>d out, w
EXTRADITION (Mctheny) 1980, Willmv, NY. A 11ew t une- wn tten 10 feJlu rc th<' Rol~ind G R300 in a mo.-e "<.:h JngM" ~intens1ve envimnmP.nt. 1his is a reJlly fun t un e to pl ..ly. The ~ong's name

TRAVELS (Metheny/Mays)

hJs 10 rlo with a story t hat WilS in the new~ at th.1t time, and 1 1l i~ u ne br ea me the fir~¡

W ritten 1<mo, U slo, Nurw~ty. Th 1.s was acl L1<.1ll y writtPn durinr, tl1 e m ixing pNiod of

ot m;iny songs

the Wirhu;i a lbum, on 1he íamo114' " KclinWw"' studi~ Steim.vdy, wh ich 1 i\lways

Roohy Recorded oo the olbum Travef•. (Pag<' 1401

lovNi 10 go pl<Jy whenevN w<' were 1here mak ing rt"'
it. Again, this b a

t une th..tl evulved a lot o v('r the cour)e of gPtling pl
JAMES (Metht>ny/M.iys) PJHO.

Thi~ w;i~ OrtJ,tmally w fillen for tht" qudrtel lli..il tourNi for much of !he

yp;ir

1980 in oft he 80/81 record- Drwl'y l<ed r11;m , C:hM!ir Haden, PJul Motian , an d m y>e lf. lt

rndro

up ~in~ rewmkrd a m11l1l;er oí tim<'~ before bci ng re<·or<"d

Uy 1tw gro11p on the r{"(_oH..I ()ffmmp , w 1th Lyle wr iting the n1ce introUuction. " l.:tnie-s'" h for lnm<'" l aylo 1. v rie of my favorite guitar µJayrrs. Recorded on the album

Offramp with o lhu version!' by Roy Haynes, Ooh James, M a rlin Taylo r, and others. fP•gr 114)

440

;i

Buys t hing, -;omething thaf w.i' 101~1lly lu:-.1 un lh<' rrcm cl produ<..:er ,1t thr t i1i1e who

lt.> be tit lNt hy our 1he11 newe<;t m<'m ber ol t he grnup, bass1st

S1~v~

FARMER'S TKUST (Melheny) 1981 , Wi'l ltham. Ma::..>. A noth N !;Ong lhdl j u)t showrd up, wrillt.>n for thf' group 10 ;i new ared o l µerform;if'lCe íor 111~ p lJying nylon-slri r1g Jcoucot1(" guitar w1th pirk, /ive. l 1l1) ::..ong, p.irticularly the in ner voice lead ing, hJs f'volvtd o ver the y~i1r' of r,etling µl.iycd to what il í~ here in t he book. The title rí'frrs to a bv::..iness t h.:tt for m.,my ~'eMco wa s loc.i ted in the h~;irt oí dowrilown Lt!'f': '' Summil, t hJt 1 JS a k id thoLtght h~d to rlo w 1tl1 where the f.irmc..-s wen l to gel thrlr trust th,n the CfOíK w ould gruw . LiltN, J found o u t it wac:. just a s~lvi 11g) ba nk. Rccord ed on th~ alhum Travels with o th er versions by Jim Hall, Gary Bu rton, Mikt Metheny, and o thers.

featurr

J

(l';¡;e 142)

GOODBYE (Mt>theny) 1IJ81. W Jhham, Mass. A song w rittrn rcally as d ..~ng"- to fc-atu re N,;.111J singing . Also "' fun Ltncl rhallenr,mg tu ne to solo en. 1hi) w~t)

J

st;ipl<' of the b,;.111d during thc

¡:>eriu
-.

[)

X

l ]

THE FIHDS, THE SKY (Mcthcny)

END OF THE GAME (Mcthcny/Muys)

l 9fl0, Wirlo w, NY. A pit.'(.c dt!~i~~rit.."Cl 10 feature Nanc't ami h r,. h<-nmhrw in livf'

]

1>t•rform.1n< P th;lf h,-1,.

i'I

th~ UcrimbJu IJei11g dl1 instrum ent thdt íu nctio ns w<'ll in i'l ~itua lion

h .mnonic· µl'
\'v. 1 ~ ,1g.1in wrirtc>n on

the Synd.1v. R~c:urded on the album Trav~ls. W~ge 14 l.t

STRAIGHT ON RED (Metheny)

]

11181. \o\' 11111\N, NY/W.1hh,1m, M.1s<;.. This. WJS o ne 01 the t.r)t time) th;.t Lyle got h is. h,md-, d1rty wllh thc- Sync lr1v, ,1n m<;.tmmc-nt that 1 th ink i ntri¡.;u~. yet i11íuriated him Íc.H ib l,H.k uf ie;mn e) ilncl poor usc-r 1nt('rfc1cr_ 1 hacl w ritten w hat b the "'hook.. µdrl

ul thi) tune .:u nJ h,1d 11 s1ored ,1s a filr. Al thi I of th C' run<' togr.rher in .i more

e onvenliortJI w.iy .rnll ll u..·n 1ep/.)y1ng everythmg ínto thC' \l;'lv, Th1c; wac; also an ea rl y

1 1 1 1

.11fl'mpt ,11 <;yrtt. h ing uµ ~vcr.1l

111 J l

h ines (.l UMX drum mach1nf') rogrrhrr with th P

h.ul(l ior livc' 1wrform.m< e )()rm~th i1 1g tlictt even ~s 1 write tlii s tw en ty yc-ars l{ltc:r m;lkc~ mr ~hl1d drr to f'V<'n t hink Olbout. Stil l, this was one of the niost exc it in g veh1dt>s. for Ly lr !11 this r c riorl o f !he hrinrl's hook he µ layt.><.I grt'dt XJ los Orl this ..:wr v ninht. Recorded on tht al hum Travcls .. (P.1 gf• 'f4tl}

SONG FOR BILBAO (Ml·lhE-nyl 1981 , V\/illo"v, N Y. A very sim ple blowing tun<', ag.1 ín w riuen un the Synd.w to le.il ure lht• ~uit.,u !>Yfllh 1he ch..1llengE> oí th ic,. 111n<' ic; 10 nrgoriat(• rht• 1/4 Wrs. The l urw w.1c,. ori~i11.1lly i1 1>11ÍH•."(I h y McCoy lyner, t1nd i ts worlc:1ng flflC' for many yea rs w,1, "Me Coy" for l hJI reJW fl. ThJt md from tlle Hudson. 1 he tune as dC'd1(,1te rn 1he world Rec ordt>d o n the album Trallels and by Mic;:hael Brecker. (l'.iiw 152¡

1

l ~• µiC'\..C ior Billy Higgins. C harl1C' Harl<'n, r'lnc1 m0 to pl.1y <11 J
THE CALLI NG (M<'theny) 1CJ8 ~- J\garn, .1 p1rcr writu•n fm the trio with ChJr lie di.U Billy, 10 fe.:tt lll"e tlle Koland. In nur l1vr g1g4', 1h14' p1rcr wou lrl gn .ifl over th e µ1.tc..:e, with Billy wmeltrnes p la.ying 1he x1rod
1

1

1

1

1

1

r

turn: w1itten on th e ~ynclav. wit l-. som r s1m1lar1t1('4' to

;ift<'r th~ mi!in gui tar solo. J nd lh c "drU1nrni11g" ~tuíf lhat P,1ul W erti co and Ped ro r lay in 11n 1c;on rh roughout the p it.>c:e Wl.IS Jiffic uh tu µu ll vf l ivt:, wh ich i.;; . .vhy tl-.i s tlme Wc'I S f.lrely, 1f <'VN play('fl on tour. Recorded on th e dlbum First Circle. (P.:ir:e 170)

HOUSE ON THE HILL (Melheny) 19tU, Wa hham, Mas ... Anothr.r onr. from th.1t post Under Firt.' w~kemt Th i~ tui~ really d id1l"t find a home unt1I many yCM\ latrr whf'rc it wou nd up be ing µI Jy~I l>e
THE CHIEF (Metheny) 1<m1, WJlthJ rn , M.1ss. An v lht!r froin lh{tl same wee kend. 1h1s tun(' w;i" thr rnrr 11p t<'mpo nnr. for m e irom aroun <:t.Jsion..illy l.lnd it Wi.I'> o íten 011 the "'rn.:tybe"' lis! o i tLlnc:'S waiting to gct r
WASN'T ALWAYS EASY (Mctheny) 1q1n, W..ill hJm , MJ)). Yl'l ..tno ther from rhat Wahham weekend aftcr thr Golrl~m1th rxprriC'n . Agílin, th is didn't quite ~ u it th~ l>ond '11 tl-.J t1 1me , cl11d ag~11n, 1 subm1ttC'd it lo Gary R11rlon-wh o played it beaut ifu lly. Recorded by Gary Burton on the a lbum K~union. (Pagr 1711)

TELL IT All (Metheny/Mays) ..tnd !'.:tul \'\'erlico, we were r(•;id y to rl<'finc our nf'w s.ounrl . One of the mo) I ex<.iting .1)µ~·<...l> OI the new band was Paul's energy and forwM l h i~ for .tl>uut Jn hour. 1WdS dbO Uying a h.arder ki nd oí guftar SCH.md by u 4'i ng 1h r r o nvf'ntional guitar J SIJt.•t;t oí tite ~Oldnd (.;KJOO--sornelh ing lle\\/ for lllC" amunrl 111.u rim<'. Ly le also had the too! tc.l~J of pl..tyirig the )clme notes he was p lay1ng on

;¡

mountrrl gn-go bcll on th e µiaflo in uribori

._.. g nt-J I eHect. And the

~Yrl\ lav ¡:u 1IM, \vh1c h WilS 1•1 st bc i ng r!C'vrfop<'rl íl round th is t ime. Somt!li 11 1 ~) it t.úu kl

fín;i l ensemh lC' bi l ní Stf'vf' r l;iying in .1rc o w ith f'ledro sing ing in u 11iwn w a) 1he a n ew thing fo1· u'5 as wc ll. Thi4' Wí\S .i p iN".r. wherf' Lyle and 1 re
l.•~t fur 30 or 4 :; rni nules. A few yea r~ lat('r, this hHll' il!so ~c.1mf' a st;1µle ot the Sunfi

guit ()r/pi ano ensemble v oic inKS in dr.ta il, fi nrl ing <'x;irtly the right noles to µlay to

X tour, J lthough il

<..T~Jl~ thc ~ífctt tliat w e h.ave o íten SOl1gl1t, oí tlJrn ing lhf' guitar/ p i:ino rnscmble

fPil/W 156)

ble11cJ into wmelhing that real ly defined the sound oí thc band. Rl"co rdcd on lhe olhum Firsl Circle. (PJ¡;e 180)

THE RED WIND (Metheny)

1

J

1'J84, Waltham, Mass.. Aftcr i1 y<'ar of to t1ring with nt'w grouµ mem~rs Pe
STORY FROM A STRANGER (Metheny)

11 J.11rr on Rf•joi< ing. Rec orded on the a lbum Rejoicing. WJRe 154)

1

1qtn. \Villow. NY. Ag<:t in.

HAre You Going Wi th Me? " Lylt' wrote ,1 be.:w t1ful 1·elease s«t1 nn

1
MAS ALLA (METHENY) 1''81, W'illow, NY. íh<> irk-.1 of hnving son g.o:. th at coukJ be ~uog )ldrlc x:im p le of thal d~ir~. Origir1,11ly p resented to N..r11v tl u1·ini~ hi.;; s.tay w 1th tht? bi'nd, 1t wac; ;i y~ar lnter w hen f'li:dro AznJr e
b,mtl 1h,1t thi~ tune four'd its identity. A rr
th<'

~orf' for

ttw.

fil m

.1 lot of new ideJ> t.Jn te u p-1 spent a week holed up in o ur w~111'houS<' \Va lthílm JUSI writing down everythi11~ t hd l C.clme 10 mind. One commc-nt that Jeny m.ui1~ rrally c;tu rk with mt•, Jnd th JI W JS thJt d> d pe
U1lrl<•r fin•,

in

cxcrÜ>t.' in 1hi!'< area, l d ec1ded 1wo,1ld n m s.tmct ;i musical sil uuri on (in this LJ)e, lhe rhylh111 J-2-3-2-2-3-3-2-2) (1nd see 1f 1<:ou ld co mf' 11p with il mu o; i<'.a! so lu1io n tu the q ut>!>tion th.11 tl hll d1 ythrn )€emecl to be asking- w itho11t <'VN r'ICh Jill!y r~ally being

.1hlc• to J)fay .rny of it. WhJt 1 t.d111e up w irh wJ.s the i ntro. thc tunC' ai'l elli n~ lor the p idllO solo. l arer, Lyle addC'd thc voc.i l mi ro, l hP f.in1,-..:-.ric inlr rlurl<' CO("<·tion thJI follows th~ ~lo, J.n d tor,ethet we carne up w1th an endmg, w1rh 1 ylr wriling l he great l UUnlerµJ.r l l in~ to thc r1nttl statement of llw mefody. 1h i" rrm;un o:-. M <' of lh<' mosl fun tu nes i n u ur Uook- ancl one o í rhe 1u11t''\ 1 lh ink we Me bo1h most pmurl of h.wi ng wofked on togt-tht-r. Re,-orded on lh e ;,ilbum first Circle and o ther ver!iion!i from t h e ~roup Bot a livre and man y student ensemble s of • ll types aro und the world. (P,1g~ 1r.rl)

IF 1 COULD (Methcny) 1CJBl.

Dt~fü·;11ed

l()ft1, W .ilth;im, Mass. During this µeriod 1 Wd> dc..lively invohred w1t h the New Fngl.ind 0 1gital C:orporation as a consultJnl i n lh~
call in,1it thc- "'TJig it,-.1 Guitar"- ,1n i nterface betw~n a t:uriv~nlion.:11 g uilrtr clnd t heir Synclav1er. One of the fl?.atur""c; of th<' Synd ;iv WilS thf' Jbi lity to chl.lnge the .. oc.l..tv~ i<:t lio"'-in o tl1er words, to con1plrt<'ly ;iltr.r thr notc -tn-fret ratio un a ¡.;uit;:u . Th ic,. ,;tl/uwed me tl~e chan ce to gel a m uch wider rang(' of rrgistrrs out nf th<' g u itar, from ÍJr b~low tli~ luwe~t note oi .a piano to íar above 1he h ighr~t. Th i4' p icC'r w.1~ wri ttP.n using J spei.:ial oLl,w e ratio rhat allowed me 10 somehow ch;innrl f'V<'ry l mlr h it oí rf'coiduotl high ~t.hool ;.mg!>l dri
FIRST CIRCLE (Mcthcny/May>I l '1U J, \\'J lthJm, M.1~>. A llc r wofkinr, w1th Jerry Gol
FORWARD MARCH (Melheny)

to Wc~ Munt1w111ery. 1 w~1nted to w ri tC' a 4'ong ro try to d~s.c.r i he the

1 rnmC'él~urah!l' t;rllli tutlc 1 Ít"!t tow.1rd!-> the man w l10 is to mP th<' gr<'mMt guitari c;t in hi~tOr)'. 1 rlirl h.1vt• !he t.h.tr 1L~ to hove m eet h im once, when 1 w as 13 yC'ars olcl . 1 ,1,.h ·d him for hio; .1 ut0Kr.1µh at th~ KJm..t~ Ci ty Jet.u. Fesl iv.a l in l\pril o ( l CJó8, jt1s1 a frw mo nthc; h<'forr hr diM. M y r~ulle<..lion uf h im W<:l> 1ha1 1 had 1u•vc1· sccn a k 1nder lookm g m.a n, tlnd hic; pNform.lnce- that n ight mct iJH..t'. Hui 1 1h i11k often ,1bol•t th(' dd')f tha1 1 ao; .1 mucoirian ow~ to him, JrKJ .-.Uuut huw mud1 1 wí!>h 111<11 1 h,-.d l>een able to rcally th ;ink h lm in pN\On tor the gitt o í hb mu~;ic. Recorded on the al bum first Cir cle, and Stanlc y Turrcntin e made an al bum w it h this bein g lh e lille trac k. (l'ap,e 168)

but

~ry

cffe
PRAISE (Metheny/M"Y') l 1J8J, Camb ndgc. M.a,..s. SomC'f imf'o; ;i new instrumenl insµires ...l new tunt--in lhi> Cd se, 1had 1ust rece ived J bc-autif ul n<'w ;irrn¡c;fir 12-.:-.trin g huil t by CJn JdiJn luthier Lind.:t M,1n 2er, ~1nd the t une camr ror111ng m ll. Lyl~ r ílme up wit h the i ntru Jntl tht! bridt::~- .ind together we wrote t he tieat l e~~l'.lliC' m iddlr ~rr1ion . Thi s lunr• i ~ .1lso notl.lble tor the u~~ o í the '·fl ute" ~ound, which w.a:s Pedro !v11ar "sam r !<'
PARALLEL REALITIES (Melheny) l ~l;S4,

W;ilrham, M ass. A piece w rinen for

Jll

N EO wOtk!>hop in Leb.anon, NH,

p layed livc by fh<' Synd ;iv and me, w ith J g re..it >.ixoµ hone p ldyer, Fred Hacis. 101111nR in. 1 rcsurr(Xtcd rh ic; piN"r a {<'\\' Y<'ilíS later fur j Jck DeJoh11~Ue') reLord o ( th P s.ame n.Jme. and 1t's o n!' of m y favor1tt"CO f rom th;ll period. Record ed on the

album Para/le/ Realities by Jark DeJc>hnettr. (P,1g~ 192)

IOHN MCKEE (Metheny) l 98i1. W~1 l th.m1, M ds5 . John M c Kee is one o( th~ n10st im r ortnnl mu!;icianc; in my lite, a gre.at µí J 110 µla y~r frorn lee's Summit who int rodtJcerl -111 n í uc; in rn"" nt>ighhorhornl to the mu)ic u f Tl 1elonius Monk, 8 ill tvans, M ilc-s í1av1s, and othN4'. Ali;o a hrillian t person and tru~ d tJ.r.t<.ler. This piece is dedic.:lted to John. Rt('Orcf~ on tho olbum P•rallel RNliti"' by Jack DeJohll<'tte and anothet versic>n by drummc r Roy Hoynes. {P.1ge 190)

DANCING (Methenyl 1984, Wahham, Mass. Anothc-r onr wnttrn íor lhr

NCD semina r lhal found ib WJY

lO th e UeJo lmettt pro1ect Ja ter. A s1mrlr v;im¡i with il C'om p lex mPlod y, an edutifully by Herbie Hc'\nCCM"'k on tli f' r<'r o rrl. Rccnrded on t he album Para/le/ Realities by Jack DeJ o hn etle. iP•X<' 79.ll

441

A CHRIS IMPtht·11y/M,1ys¡

wmd o w ol t he house' 1 grr-w up in} dfl
l lfH4, C.1mhndr,e, M.:i~'>- \'Vrill~n the nig ht 1 gnt b(1ck from Mexit.o C:ity wtwrl" 1 had l)('('n mv1ted en w .a1d1 ,, ú..iy or shooting íor thr 1ilm ll>e F.1h.un .md thc .Snowmc?n. Th i.:; pien · fcll l lk.t- 1he 111uotl o! thP film ro mr. 11 went o n to l>et:ome thc m ai n thrme Í()r the c h .1rc.H.. lí•1 U1ri~ l3oyn•, pl.1y picC(l lh(tl b lhe fuu n rirn." Recorded on lhe soundlr• Ck album for thr film Th• Falco11 and the Snowm.ln . {P~¡¡c 196)

couriterpoint lo growing lJP 111 Lee°s Summir. T hi~ lun<' was w1lhu ut .t Urid,ge for a

fong lirn~-fin.1fl y JllSt beiore we rt..'l.orded it, thí' hridgC' cdmt?. ,l'<Jwri here in rhic;

Uuuk w i lh thC' f")(c r1len1 voc.:11 c.:uu nte rlin<' th.it 1yle caini: uµ w ith for thcJrrangemf'nt of the tune tha¡ o.µµe.J.rs on t hr rí'(' Ord. Recorded un the alhum

Stllt

Lífo {TJ /kin¡¡). (Pa¡¡<' 224)

IN HER FAMILY IMetheny)

DAULTON LEE [MP!heny/M.iy,¡

1<mí•• W1llow, NV. Auu~tlly writt<'n on rhe last day o f ~urrn m·r v.1,·;¡11on upstate, io1

1<;11H, London, Fngl.rnd. Lyle ._mcJ J dgr~
a lonr, time hctU the working flll<' "'1.ast Day." KimJ uf thc• p r <;or to othf'r pi,mo -

Dau llon 1C'<', p lc1}1(•d by Se.111 Pt>ml. Lyle quirkly <'
p iano. D1....Uic.;ate d to thc- Yo11ngs k1ds, Kobin , Jo h n, Jímmy, iln rl (;,iil. N:eco.-ded on the

groovC' 1h.11 S('l':'rrted 10 t'VVkf! everything i'1hn11t Sean's cl 1d r_.<..t~r. ToiethN wí' fin ic;hNf 11 in one dilerr K.>Un, í~ling likí' it w;ic; one of ou' be~ h.Hlt!Sever. lt was 111st aJO q111dly re1ertt'tl Uy lht:• film\ din•cro r_'Ale then ftantícdHy ~g.in a \o\l'N'k of wnti nr, a numbc1 of CJtht:'r p ieces, trymg to ¡.i;('t the flrtvOr lh.::1l l he d i rt~tOr \\>'t1S rookinF: for. lrn..ludt:d in lhi!-i hatrh w.1~ whal we nl 011 tu Ue<..o me thf' ~o ng "llt's Ju stJ Ta lkN. Ali íl.:'ject P<J. r in.illy Ín rJcspcr,1tion (Wt: Wl'íe losing vaJ u,1blf' t ime), We pJJyed hirn lh(• origin;i l dC'mo of ntir o n g111JI .. L),¡11.111011 l ee"
a lbum Still Life (T•lking ). fP•¡w 227)

(IT' S 1usn TALK (M etheny) 1''84, Lu1K.lon, [ng hm ci. Th 11\ 1
hin<' (l

t houghr 1 wuuh.l never gct o n r- rh~1t worked),

a 11 ct\.l.~µIJble OllC'

fin;¡IJy

Kecorded '"'!he olbum .~till l.ife (Talking). !PJ¡;e 204)

THIS IS NOT AMERICA (Mt>thr ny/MJys/ lJowie ) l 1>B4, M (.m1rc,1 ux, Sw itzc•rlrinri . A iter t wo rno 111 h~ uf \Vork in l ondo11 o n t he ~core 11self, wc .il l tlt> lh' fo Sw if1Nland whe 1e DJvi d h~l ;1sic íllly

rhr (,()nR •t tu i)" w ith ..1ddi1 ional l inn rlrums added 10 it ~md hi m ovt•r 1tw top . U_worked 1~re.tl. ..111d !teeing h1m in r¡ction J.nd
KATHEUN G RAY (Coleman/Mrtht>ny) 1'185. i'Jew York. i'JY. A m<'iorly wrill•n by Orneue th.11 h~ askNI m• 10 add 10 by wnling 111y o w 11 kind of <'hnrft cha n~!e5. Tl~re would OC' rlorrns of wa~ to hanrn mi l.e 1'1i > piPn~, h 11! 1 w trntt-d lo c.011M.' uµ wilh som0thin~ th~ t wo u 1d abo l>e íun tu ~ol u on h.1rmonicñ l! y s11xe rhis wuul tl bt> th f:' r.irr- Orn ctte tw 1e tli.tt would in f,1U h..1ve ,1 ro nvf'ntion al h armonic p l.1y i11g form. R:ecorded on the a lbum Song X. tP.1¡.wlO<J)

b..Hed

b~1ll,-1d

LETTER FROM HOME (M•:lheny) 1985, C;imh rirlg<', Mass. ( >nr,i1l.::llr)· used ,1<; ;i th í'm(' in the f1ln1 )(.Ore lor th1• mo v1<' Twicr in ,1 I ifl'time. Ar,ai11 u~i11~ l he soprarlO guit.;¡r to doul>I~ .J rneJoc1y wrutí'n on thí' p imlO and conceivt."<.I J> ,1 pi;:mo p i<'C'<'. 1h1s p1ecc abo mJrk<>d rhC' bcgmnll1R oi <1 ll('w C"ra ror rr~ d~ J writer in rrrm"' o( not ac.t.eµ l ing ..1.ny 11w/o
note) 10 )how uµ; thC' final

p~ge

whe11 1 finbht."tl w.is juc.r a mess of t-1J~..U n t>ll"S.

cr~t..-d o u l µhr,1s~. <1n )(lencled .;1rro'-'~

t..onm•ctc-d to odd b..lf ) ,111d µhrJ~ rh ,1t tume
GRAMPA'S GHOST (MPthe nyl \o\1Jlth 1.1 rn. Míls.c; . A pi<'CC'.' based o n cm ide,1w rittf'n for l 1m H utton '~ TV ""ri('S l\rnt1zin~ Stori~~. Using th<' Sync l<1v to lr y tu ue;it!' nc•w w u nd s, thio; wao; a tul'lt? d~1g111~d lo be µl.iyt>d lJCiiOJo: this neaky t.·11~mble of ,, wriy· stre t«hN'i-out p iano , d siliu. ,md J guitar all do ubled inl o une híKh -p itch<'cl ~und Nevcr recorded on an album. (Pag<' 119J 19 8 5,

debut

SUP AWAY (Met hen y) 14117, \•Villow, ,\ I Y. A11 id~a th .1t floílt~d
ri umber of y(',J rs hdore turn 1ng into an ythin g. Tyµi<.:JI of th<' kin
Koy Ha ynes' f., Vou. {f',1gr J IU)

1986, \oV.1 ltt1 Jm, M a<;,°' · 1 hl' "tune" pa rt u f' th b ont• w.1c; \\'ritten ag,11n ci lter r~;eiv i ng vel J noth( •r n"w M.1n7er guilJf, thb lime J min 1ilh 1rr., h igh·slrung wµr.mo g uit..u. Pl.win~ it llkí' ~l Rraz1l1 ..111 NCcJVdquino;" lhe m<'lorly rame qu ickly wHh the bask t<'n· h.Jr phr" ""· 1hl' p1ece w<1~ 1.tt~r ret!x ílm inc'd hy 1yle when w~ r~.illy got "<'r in1 1s ,1hout thr wnt1n¡~ on wl1,11 woufd t>e<·om<' thc'. r('Cord Still l iJ(: (T.flkin1-:). l li~ intro ar1d thf' "m,u1mb,1" !'>C~ !ion took tht' tun<' lo another p lace. Soloin 8 diffin1lt, io r the tempo .anU Ll1e µJrtiC'u r,1r" of t he chord str uc l uu~. Abo, wi lh fh(• rf'<'OUi 1nR of lh is piet..t'. w~ began a nC'\V ;md impor1ant .:1.1 (01 lhc b.md, onP in which wt• were .ible Lo fc.x..u > much mo r(' <'xte ns ively 0 11 l he dcl.tih. u l lh< • n'i·orrlrrl -sound ~1 nd períom 1,rn<..e!.; W<' fin.111~, fC'lt free to re.tlly exµlorP tlie studio .1n eyond hcing j11<;I the b ,1ssist in 1h~ b1.1 nd d uring this p<•riod .h h(• also bet <1111~ mu r h more invofv('d in 1he m'1ki ng ot t he rt~:ord<; íl" J v.iluoh l1· produceL Recorded on the album Sri// Ufe ( Talking). IPJx~ 114)

01 th~

1

from Hume. (P.1p.c 1 4 11!

MINUANO (SIX- EIGHT) (M ctheny/Mays)

(t"t~i~lt:'r

1986, VV:ilthílm, Mass . ,\gaul we íuund ourl',.('JvM \.Vith .a foir .3 fnu u11t o l ba1l.1do; .inri mirl-tc•mpn twlés, needing ~omethi ng ''up." 11ook the wt.-i rd hi h J t µ.1tt< rn
191l'í, Nt'w Yo rk , NY. rl1t' lir~t µhra~ io; mine-, thc• second is Om~u~·s, th irrl is. mine, .1 nd th(' iourth fo1<~ 1 lur1g o ne i ~ O rnNlí''"· We pr"Obdblv hJve hnlf ,, do7t~n more 1rnr('r'Orde
douhling thr h1gh

THIRO WIND (Me1hen y/Milys)

TRIGONOMETKY IMcthcny/Coleman)

Son;: X by 1l1t• de><.:ribt'tl mC"!hOO of pl.1ylllP, p h1.J!teS b ack ;inri forth , and the11

H'~ il~tr::.

pieces p lílyC'
HAVE YOU HEARD

.:i

-

rt:<..ord ing. Recorded on the .album Lelter

(Mcth~ny)

1988. VV;i llhnm, lv\ass. 1be ( ir!X µie<:e writtPn iot thc- ' 81) dlb u111 Lt'rter fmm I fnmC'. t.le signcd .1~ i1 fast m mor l,,lu~ t unt> to g<'f lhí' ronrert st..Jrlt:' ir o ut. thí' m("tl"r chanr,~ we1~ .J ~uµri!'(•-1 w ¿¡i;. sure 11 wa~ in '1 / 4. Onc• of the n10St fu 11 flmM we have to pl<.iy liw. Recordc>d on the album Letter from Hnm('. Wt1p,e .Nl'

SPRING AIN'T HERE (M etheny) PHHS,

W~11t ha 111, Mct >~ .

A tu nr- inspirC'd by

~tdn l cv

Turrentin<', onf' of my í..wrni lti

m usic1a ns. l ik+! .ill of rhe tunr~ from around 1'1i) ti me, thf' Syn rl.l\' was rhe 111t..-·diu111. 1he paletl+! of souncls. ava1lab le was Jlwct~ inspiring to m(";

111 1h i~ w~. J

co mbi!l..itiori of .iU tht' hí'll·l ikc Rhode~ -ty·~ wund.s mílrk up c:'\ n ense-inble th.u w.1~ lu::.h .rnd fent it~lf tn t hrse k ind s o f h~urnunie!oi. Th<' ~rnystr·ry ~ 1·hythn1 .il !he end o{ thr 5/4 ~e<;tion i.s in fort

;i

4/4 b~ r. Record~ on the alhum L~tter from Home. {P,1gt• l-U1)

DREAM O F THE RET URN (M etheny) l 9Uí1, K10 f)(' Janerio , lird,1,.il . A tu ne th;it h.10 bren 11oa1111g ..trourKi for .iwhil<', th ilt 1 hílcl orig1nally \.vrine11 for ><.Jmt' Ur.17iri;in frirnds o f mi11c,

J

-

Hroup c.irlrrl Rrx-a l1vre,

\.VcU its working titlt? for ~vf'rar ye~1rs>. 1 Uidr1'1 rt:'.Jl!y fin i coh th1s L1nlll j u~I tlle 1·ecorUing....rn d onc<' ag;i in, f'ed 10 A t 11M wrolt> Sp :ini<;h wmds to r,o wilh it. Kecorded on the aJbum trHcr from Homt!. tf'.r¡;e 2.JS)

(w hich l~íore

557 {Mc1heny/Maysl

SO MAY IT SECRETLY BEGIN (Met hPny) l t.JHh ,

Wahh.un.

1988, \.VJ hhJm, Míls..s. 11k<' " r1.-sl Circ le." 1 >\Jrted with a rhythmte ten1µfJ\e ..1nrl

M-i~~. B.1~1 on .1 WC'ird h1-ha1 p,1 11ern th~H t:am~ out nf ,1 w ntinp,

' '"ssron o n 11'4..' ~cr,1v.'' thP h,1<;<; lin r ('m e1ged l~eem ) µeople oftc>n thi nk it is sorn e

where th e lillr co m(' ~ frornl , 1h.:11 geru~rdted t h(' mrlotly a ncl the b.J)il tielti ng for lh<'

tm1f' s i ¡~n.1 1~m.· o tJi er th.m 4/ 4 ¡. Th" llme itsel í i:i

µ iece, wh ich 1 lah."'r resolv€d wiLh the morC' tJ 4.i<;h blowi ng ~t.."<.. lion. Toget nc-r. 1y l<'

,1

)imµ le m in or blii('•H ype thi11g-

bu1 rlur~1blc .u1d still fun ro f)l 11y o n . 1he l il lt- b lJk~n from a P.1111 Klee p ainting of lllt' wme n Jmt•. Recorded on the album Stíll Life (TOJlkinxJ and another verston

by

vot:alisl K~vyn l ettau. (PJ¡.:e :l 11 }

LAST TRAIN HOME (M etheny)

442

-.. vorketJ fro m thnr, this time w11h r'""º bar~ o í '5/ 4 foJlow<'d by a b.:H of i / '1 (whk h is

19Hh, W.1 l1h;un, M;1ss llie f'le(.tri(.. ~i lJ r WiJS .1n jno¡¡lmment that 1 li~U u~d to color v.1riouJO lr.1ck<; for the p1t"vioo~ lt!W years--.1nrl 1 w.an red 10 wr ilt! someth ing that woul
1.md J w rot<' the mterlude ~l ion 1h at followoo 1he solo. c1g.ii11 l a~ing thr l unr to anothN p l;ice. 1h is w.:1~ ooe of the firc;t timí'~ w e mvited Stcve Rodhy to c;it m w1th u.s .1t a wntinp, sessio11, wtiert! hP wa<;

;i.¡;

~ffecttve JI

l1e lµi11 g U!i g<'t good 1·esults

d uring thal PtUL u f the prc><'.f'~~ ,, ~ h<' \.vould be l.1(e1 duri11g t h!' ;ic1 1ial reco rd inn o!

t h(' pieces tll c:m~eh·es. R:ecord cd o n the alburn Letter f rom Hom('. {Paf?e 25VJ

45/ 8 {Metheny/M ays) 1988, WctlthJrn , Mass. Th<' rh yth m ic lemµIJlt! icJeJ takC'n ro tln ex1remc . Lvle wrotc• a ~imµle 8 -00r phr.i't<' tht'\t p rovlde< l lli~ .mtidote .100 JOom(' rel 1eí 10 ,.'.fll thti lOUnting. R:ecurded on th~ afbum Letter from Hume. (P.1g<' 2 1i f1)

......

r

N BEAT 70 (Mc!hcny/M.iy>l

ALWAYS ANL> FOREVER (M<'theny)

l lJH9, f.!io IJt~ J,rnt•iro. ijfJ¿d Ag,un, nN>
l 'J89. \'\-'<1hhdm , Mass. Oí'
pwgr,)m tor thl' rt.'t. or(I. 1/11fo o ne .;howC'rl 1Jp. Not rf".1lly un~ u f m y 1,w o 11lcc;,, b 11t nft<'n

lh,tt thcv li,1ve h,1cl th roughou1 thuir l ile tug1.'l ller-mo re th.:tn '10 yf'aro:; tc,,.;ether.

i,1l ly liw . Recorded on th r illhums Letter from H o m e .md Tl1e Rt>.Jrl

Retor
•·ff('( llV(', l''>IX'<

Ynu. (IJ.1¡.w 2 ;91

/Q

FVEKY SUMMER NIG HT !M<·theny) 19ttfi. Mon1ri•,1I,

Qur~X'< .

ANTONIA (Me!hcnyl

Decfildlt.xf h> lhe JX'Opl(' oí Mrmtrt>.il .tnd tht·

t'v(•1 11-. 1h.11 1hey pr('<,4•nr f'Wry -; un1111t->r r1i gh t

by way of thr.ir

i<'o;tiv;1lc;,

a nd

Í<J rilchllC

t>~µet.i.i l l y

the M011 l t t'.1I J.v; h <,:l1v,, J- prohahly th~· t~~t of i1' kind in thr worlO. ThP tune b • ltw ly i111lm·r1t t"(I hv H1u1 íJ,1ch.-.r.1(·h, .111 ÍlllEJOl(d 11t mu:s1et.:m ftml 1níluC'nn• in m y mu..,it ,11 lilt• ,¡m t' \ luldhnod R"cordc d on t~ album l elter from Ht>mr. Wagt• l6!1

19/UI, Angra, OrJ¿iL Or igin.:t ll v USPl'J m

it

piffr written lor Lt-'

~~1 llt..-t J.:iu e~ ~ntrf"'al

r

for th<' 1\.1rrntrr,1l Jazz e!iol iva l tl 1.~1 ye~u. Kecor ded on th e a lbum St!cret Story. (1-'a¡:.;e 286)

1

( M~th Pny)

QUESTION & ANSWEll 0

{/',1¡;t• !()41

CHANGF OF HEART IMetheny) l 1J81), o n 1hi· n,.1d ">f>fllf'\.VhNf'. 1hb

llm~

\'\>\tS r>l.wed for man\'

h.w' ' r·vf•n r<'('orde(I il u11t..-~

111.1y

rnw oi our C1rn1p rt·t oid s lt 1<.; .1n idf',1! tun<• tor

1'1011· Í (('Ul.liíl'i ,1("Ofl"l•lfll. ,1llowmg Ínr 1nstrum r 1)1,lllfHl ot

.1

.t

J

l'"Nf,llll

01

1w1ce

b1 1t

y ('.U'i

hy lhe PMG.

n<'vN 1ndu
011

trio ~ilt1 <1 1ion becaus(' of l h<' w.w thc-> C'ftt-'C

t to

be .idli~ved w1th tht• limilNi

lrio. R~curded on th(I' a lbum Question & Amwttr. W~me 166}

H & H IMPtlwny) 11}Wl, Ni·w York. ,"\IY. \.\lritlt•r1 tor tht• rhy!hrn ~·t1on of f'),w<' t lolJJncJ Jnd Rov Haynes whu h,1d nnly r.m·Jy pl.1w d

tog~ht•r

pr io1 l o the "C..) /:!-. A" <",('C;Sion th.11 lhb µÍL't t• w dS w 111tí'n Í<Jf ln~pm·d ('4;f1''< 1.llly hy D.1vc Holl.mcfs m uc;.1c. A hJur-c; in I~ mJjor, ,, (. hdlle11~t111~ kt·v to 1mpmv1'"' 111. Reco rdt-d on the albom (.JuestiotJ & An~wcr. (f',J>:e 268)

NEVER TOO FAR /\W/\Y (MPthe ny) J•JlllJ, P.1ri\, ír,11u t'. ()1 11:m.1lly wrilr<'n for , one r1igf11 g i}.!. .:ll the Nt·w Mommg Cluf> tn P.1ri.¡; w 11h <.11.n li~

on

.1

1'J88. \.\i;lllha m, M;i-.siRio DI..' l.meiro, lircl11I Ffo,1tC'd arou nd tor J ~cd!>Oll o.- so befo.-e (\ fso finrling ,, home in 1tw dlxwe-mentionr
<..ondL1sion of tf1<' .')rrr<•f Story i.1 ll.fü rT1. 1 hJve ~\lways fl" !t thnt this ¡x1f!iluldr t u11e

rtmfi, ( .m1l>ri(lge, M,1,!'I /\ IJlf''--'-' wri!IN'I ím a KiK with ; .1xuphonis1 U .we 1 ií'hm.in ilt Rvl•·\ .irourlfi rhi .1r'< ''ne (' lhf• C'ncl o l lhl" U1id~t· ¡._ 1nsp1rf?d hy thr h.i rmoni< J<.lv.11K..c.·~ oí John Cuh1.111C' ,rnd hi' m1i<:ic Rc<:orded on the albums QuNlinn & Answt-r and Like Mincls.

.mtl 1 1hink wt~

THE TKUTH WILL ALWAYS BE (Ml'liil' ri yJ

H.1clC'n on b"'' .u)(J Paul \'V<•r1ico 011 drurn~. ViJe h,1d an oíí n ight

PM< ~ rour, ,md l H.".1lly wanled to o;l,1y p l.1yinK. w ;ve IJool..tod th1s conc f"'rt.

sun1111i:d up ·' hund1 oi J1<'rc;.on,1I .tncJ mu)it..11 i!>~l•t:-S dosc to my h<'rirt. An imµurl<ml one lur me_ Recorded on Ow ;ilhum Seuf:'l Slory. WJ~e 28'Jf

FACING WEST (Me!hl'ny) \A./,lltlrnm, 198 7, AL\uJ lly writrr.n In thr ~:imc• s.t-~s i un J ~ " Ldi>I lr LJL1 íl l o n the bas" g(()(')v<'. Rccorded on the alburn Secret Story. (P.1.gc• l92f

CATHEDRAL IN A SUITCASE (Mt'!li.. 11y) Willow, ."\IY, 1qfl.'i- 1(}H9. A )ll idy in polyrhythmc., c.¡><'cifl r al ly lllrt.!t! ovc1 l\.YO . Une iir<jl p1r'c "" wrill<'n when "pulyp hon ic SJmpling" br-ram<' a rt>Jlity u r1 tl1c Syrid..tv. 1 h is one ktpt ~<'lli ng upcfatt'd am i 1t•vi~·I all the w;iy u p to i l<> re<·o rdi11g

u{ lhe

on .'>e< rel Slury. Reco rded 011 th<' album 5f:'<:rf:'t Stor y. (1'~1ge j t/6)

AS A FLOWER BlOSSOMS (MPthe ny) ·1 crnq, Rio De J.rnt"ifU, tl!'J.Zil. /\ ~impl C" irlPa w ith a refcrcr1tf' !t) the kind of di,"llonir a~r~nrtin~ line!t ll1 dl 1 ..ilways lovc Ak iko Y.1110, .l gre ,1 !tho rl (JOem 1h,11 l<j sung ,1long wit h the Jllt!luc.ly w hen 11 h.ipp,·n~ at 1hr. í'n
THE LONGEST SUMMER (Mecheny) 1990, 1{10 UE- J.11)('1ro,

Rra1i l. \Vrinen J n
1nrk,J1ip hr>m~ ju">l ri¡~ht lor 1he ..<.¿¿¡.,.A" 'H"4''i1on. Rccorded on lhc album QuPslíon & AmowN. (/',l~t· 270)

trort 1 th i) pt:'rtüd . esp('nilll y

THREE FUGHTS UP (Melheny)

RAIN RIVER CMl'thl'11yl

lhr-

~olo

form. R ~orded on the albom Sc-crct Story.

fP.t~~JOOJ

l 9WJ. Nt·w York, NY. A 1t1rw w ri lte n ,11 tlic- l~1sl m inllft' fnr lhP ~sion wilh l),-tve ,rnd Ruy. f )c ...i¡¡nl•d ro k.11t1rr Roy\ im rediblti w.1y of p l ~1yin~ f,:ist rrmpos. Reconled on lhe album Queslio11 8.· Answrr. W,1~.w Lt,9J

1<}90. Rio De J,111('í10. l::Jr.u1 I Ra~t on .1n o~tinJlo figure p ldyed on thc C'l('("trir "'itar. f hC' nwlocly b Jll t!.1rl y u~ige of the 4/-slring pt~íl~'><> gu it.ir, m,u.lt: by l ind.1 M<1n71"r, do1Jhl ing ,1 ílutt~ o;ound vi..i tht> S't'tK l.w. Wecord('tl on thc album Sec.:rel Story. (f'a;:e 301)

HALF LIFE OF ABSOLUTION CMetheny/Mays)

SEE THE WORLD (Metheny)

l~ll'J

1'')11(), Thi... 1u11t'

h~ld

,l fnv <'Mly

1 nr,HnJt ion~ b~lurt'

1l wound 11p nl rhr form

!hat ir .1p¡x•. 1r) in 0 11 tlie Nu.1d to ~()11 ;·dbum. Jt W.t) o rii::i11,:illy wnttt.•n t'or ;¡ gig ,lf

J.:yJ,.'" 1h,11 l p.uti< ip.ttt.'tl 1n k~I by tni mrwtrr Tig<'r Oko~hi, with L>,1ve Holland ,rnrl IJ,1u l Wrnu o. 1.tlPr. we h.111 ,111rnhe1 vcN1on

.int...,. • lour. Out lht> Vt>~io11 tll.lt W,l~ fin ali;rNI for these µerfor111,1n<_es carne 101w1hc1 1n W.11t h.1m Jll'>I ht'lore w~ lc H on that 'WJ tour, wuh th e .1dditiu11 uf ,1 new IJriclgt> .md ,in l')(h•nqvf• tC'h;}rmon iLJti<.ir1 o f ll)e out mrlo dy th,111.yl(' ilnd l L-J.!11l' up wilh lile 11i1:ht llf'inw W(' ldt, tlnd it <..011ti11ved 10 evolve con<.i <'rnhty eJch 11ight lrom t om t·111u (Ollí1.'r t ov<'r thr
THE ROAD TO YOU (MPlhPnyJ 19114, \:Villow, NY_ ( )r1c ot lht.• 1mly tll!l('"i l l'Vt'r wrot~ IJ~' v\·histl mg th(' m'·l0dy. Th<• hmí·

h.h ~Oíll(' rl'.11 < h.1lft..·11g~<. to solo ()v<'r, hut it ¡.., ,1 lu11 une to pl a~·. Kecord("d on

l.Jrothcr .1\.-\ike r.d thf' r xcC" ll c•nt New York l>rc1 ss th.i.r wr rl .. C.f'mhf('d for thti ret:oali1 1t: of thi s PI('(('. N:f'co rdcd on tht! album Set·nH Story. ff',1ge JU-4.1 ~.'ltioll

SUNLIGHT (J'vkthl·nyJ l<J90, Río Üt' J.m ei ro. i)r(lZll. An ilt!C'mpf to rTKXlul..tl~ lo d ~ mclny keys ;l<; 1 n.u urall y c.ou!cl in the lorrr1 uí r1 ~imple pop Ít)r1''!1. Rr.cord ed on th~ album Secret Story. (P~p,r'

wm

INORI (PRAYER) (Ml'lhe11y) 1 1.J~o. W01lth.11n, Md)~. 1\ lune thill ~1)mf"'how ~med to be in!tpire"t_I by Stev('n frKlr r, .lltho11gh 1 don'! know thdl rnud1 dbout hic; mu" ir . The title <..,1111c fro m Akiko v~1no, who di
TAkE ANOTHfR LOOk (Melheny)

the Alhum The Road tu Y
1990, f< 10 ()(' 1.rnr 1ro, Brazil. \.Vritler1 '1iter

N/\KED MOON (Metheny) 11187, R<·no, NC'v. V\'rittt-'n .tltt~r J to1icert wh1ll' thP ere•\..' \\·«I~ teJri11g down all tht> ¡~tw w11h n nly lh(' pi.1110 f(•m.1inini; wi1h me .mnoying lh<'m by eontinuing lu work ,1llt•1 lht• "'how \\.1.., o\lf'r, ;i e onmaun uuurrence ,1round rhi<; rim<>. Th b lUlll' v1.·<1" i11 llw hool... fw ,1 whtl(', th(·n fPll out tor .1 wh ilt~ ,1nd w ~1s ttic-n f<"Vivc" l' lour th,1 l f/J(' l
el

long \\.fl lk on thc• twou.:h, throu~h

Ltil>lun. t hrnu1~h lp;mc.-m,1 1 ;me! h o 111e. Sul.Jrn il!t::d l o G."ry Aurl01"\ fo r

il

rc:>r ord ing

h~

w.t) rt1Jk i11g ,1round th 1~ timr. R<'corded by Gary Burton. (P.1¡.;c .n L)

TELL HER YOU SAW ME (MPllwnyl 1WFi, \Nillow, \JY A specitt l On<' lo pl.1)'. Recorded on th e dlbum Sccrrt Story. (P,1gc.Jf()

NOT TO BE FORGOTIEN (Mt•tlit•nyl

NINE OVER REGGAE (Ml'lhc>ny/f)pJohnette) 1YHl~, Wí ll ow. l'\Y. J,itk\ lllrW 111 1}/4 w ,1c;, wriften but riL•t•tk·d .1 rne locly. H.1"ica lly, 1 'nntnl)t J!í'rl thc11 .1long ..,,, ith .1 lair amolmt of org.ini1ati uri.1l~lype swt'f far th1~ tlH"I<' ,uwl 1h1· o lh<-r... on thi~ reutu l. Thi~ w.h ,, 1·c·..tll~· fun rN ord to 111._t.!..t'. .iod J.ick 1s nor ooly on(' uf llw ~r<'.llt.._,I um Par.ti/el He,1 fitic-s. (l',¡~f' !79)

THE LAST TO KNOW IMetheny) )<J89. U10 I)(' J,111e1ro, Hrt111I. r\ pi<·c~ wrilhm 1hc1I could bu ild wi1h1n il~Plt over lhe of 11.., t·1111rc· fmm-k111d of iln O!itÍIMto bul w1th a brnlHn rrC"~o.~ndu. Gil

tour~·

Cnld~t~·in\ ,u1o111g(~l1Wllf Of

th1-.

l!llW

on

w,11!.tU:' l~orie v's

version tO
.1nothf'r l)l,u e in J grt•c1t 1,.v ,\y Rec-ortl<"d nn the album Misterfos by W,1llac-r Ronc)'

,1nd Coo/ Niy,hts by G.ry Burton. rl'a¡:r I / li/

COOL NIGHTS <Me!heny) 1c;w1, W,1l1hnm,

1')81J. \'\faltti.un, M.1s\. 1\ dillic..vh 1u11e to solo on--on~ of tht! tMn~)I o nes, t'~pet.i~t11y night ;ifrrr n1gh1. M y

1\.-\,1s~ .

Wllt1e11 !m d (JJry RtJ rton r<'nmt th.it 1 k11t;>w wou1d fea1t1rf"' \Mil l'"" onr of my f.tvorilt: b.i:i.) µl
!lJUH. \.Va lth.1m. MJ:-t~. U!tirig 1he muh1tr;ick rN"orcii nK U!Jlurtt o f th\.' 5yncl.w , 1 uSf:"d to imrrnvi<:.f! "on h<'Slh1I"' µien') ri)~ht into thC' rN"nrrlN . Thi!-. i!t 011e uf thefn, íi xed up .uaJ pro1x_·rly orrhf'o;fratP 311)

WE HAD A SISTER (Me!heny) 19')2,

~.tnta fi~rh;¡r,1,

(.)l if_ \.Vrilten íor tltf' debul rffording of loo;hu.i RedmJn, for

tf1(.' cdl >lll11 VVi~h BC"C'í'lll~ it \·v.1:, g o in!-\ lu Ut' ·' St':'S<j!Oll w1th (1\ll p 1'1no. 1 WJl!te
o11t!r ~u111ethin¡l, thJt wo11ld h<' h.irmonicul ly d l.'r • ~e. yet p,L1it.ansti<" a<; \'\'r ll. This tune w,15 Jbo µl.iyt•
WHITTLIN' (Mctht·11y) lC)<:W. ArtuJ ll y wrilll'n lor the "Q & 1\" sN;o;ion, hut 1101 u~C.'d . Keworked fot Joc;h '~ r<'('O y Joshua. Ke-dman. tP.1g<• J l IJ)

UOUBLE GUATEMALA (Melhl'nyl 1~)~)lJ \.Vnllf'n for the "Q & A" lou r. Th1s w.i~ ,1 ¡.z,roovC" rh111 Roy l I Jvn ~ /i;:ti..J unic¡ue

\Vrty

..i

loldll}'

OI- p l;iying. fl W.1~ olbU µerformec/ .l\t thc RNJin lc17Z re~t i v.t! lhctl

)'Cd l

wilh s.¡~ci.11 g11NI Gary ílw1on who \"t.'t"fll on 10 1cc:orci it l,1tN with 0.8 . King. Recorded on the .1lhum .'iix PJck by Gary Burton. Wagc- f J (,J

443

r·-, . ·'

r·)

A

t-·

í

a~ 1 IC't thr

Rol,1nd r,uilar

~y11ll1

ronrinu(' to stl on il~ gui!
""

• 'l

r

I•

1qq L Wi llow, NY. \.Vritten for d coli.abor;.tlion ret:ord with Joh n S<'ofi('ld . lt w as f Lirl and tW;y fO grr 1dl•a:;. for tunes b>• jusi imdgining th e potcnt i;i J w;iy" th,it 'ohn and I c:oul
ror the recurding,

r-

-

•í

THE REO ONE iMPLhe11y)

w.irm-tJp M,I!-( in prep
~....

Recorded on the a lbum I C;m Scc Your House from Here. (PJ¿.:t' .'1201

l-

wuul
QUARTET (INTRODUCTION) (M L•th l•ny) 1995 , New York, NY. Act1.a lly based on ~in iUcJ 1h.11 1ti .id hil
me- i11 th1s partic ul cH hdímo11it vocahulary lh.it 1 hopt-' to i1wes1ir,d1e Íu rther in lhe futu re. Recorded on the album Quartrf. (P•x(' J551

MESSAGE TO A FRIEND (Methen yl t993. Wi/low, NY. Alc;.o writtrn for the 5co session, with J O(Xl tow.1rrl.ii Ch;irlit' H,•d~n. onP of my hMt fnC'nds. The fi rst {ew churd) uf lhis µiec P SN'mNi to he-- VCl'y Ch,ulic ish in roncrpt1on; that's where 1he titlc <.:ornes from. This w.1c; a p1('("(' wntten on guir;u, rnn" {or m(' !f<Juri Sky. (P,1g~ 124)

S.C.0. (ML•lhL•ny) 1'J'JJ, W.llow, NY. Abo for tht> Seo ~c;ion. Th mkmp, dboul Jul111 drM.J, d8dÍn, thts.<Jurnf Wt.' l.uu ld mJke together. W<' hoth love playinr. on d 1d11J;:~. Out 1his onf> W ilS C.md b) ,1 reJ IJy hard On<'. íl ill StC'W.lrt totally owned this tu nt! lrum lhe fir.;.t 11n
SAY THE BROTHER'S NAME (Mctheny) 19~1. W illo w, NY. l\nother for [he SL u l.ble. This tune~ wí1c; dNign('d th 111k111r. plílyi ng wit h h1m. W1th bJ~) µldyers 111 rrnrxl, lflat i:,. (1bu wherti lhe t¡lfe c-omP.s f mm-yN another nod ro J1.llu'~ hum line o n "Cnm1;;· O r1, Cume Over, " which i~ why the ttme i ~ c.all t:J what it h; <: 326)

WHEN WE WERE FREE (Melheny) 1995, New York, NY. All of th<" pircN for 1h1'5 reco1 d (()u.-1tlt'll were writt<•n V<"ry quickly- Wsit·Jll ~· over .i long W('('k<"nd ; t h..11 WdS p,ut oí the <·hJllenge of th1<; record. Thi!:t une w.1s .1 groov(' that f thour,ht ~tevc ,111J PJul woulrl br Mp<'('1ally g<XXf a t, ag.1 in íl küld of slow, oslin..110 l"!•OOvt: Lu11e. Recorded on th<" alhum Quitrlet and illlOfhcr v-~rsion by singer Kevin Mahugan y. W.1gr l 'iM

AS 1 AM (Melheny) 1995. New York, NY. Wr iti ng UJIJ.ids is onc of my favrn1te thinl{i to du. ~m
SEVEN DAYS (Methe ny) l 995, New Yor k, NY. A tune tha t stJrl~ i11 '·1>l:ve11'' aml gr.idtJill ly grM mo r(> metric et lly "' in" ac; it moves alonp,. Not C)IJCt. i.1lly tm joying improv1i;1nH 111 odd mete r'.'., l did writc- ;i more co n ven tion<:1 I i..il,-tying form based on whnt thf' time ~up,¡~es l t'J. Thb ¡ ~ J

QUIET RISING (Methe ny)

ltmC' t hat 1 h ope fo pl
1993. Wil low, NY. A h,1! lr.
SOMF.TIMES 1 SEE (Metheny)

Ynur Housc from Hert>. (PJ¡.:e 3 19)

HERE TO STAY (Mcthcny/Ma ys) l 1J•,4, M1am1, H..i.

f-ir~I ui ,1

bat(.:h of new tu~ :irlctrNc;ing son-.e

o { the

b... ~il..

~Jb

rh.11 <>tyl1¡;f1c hoards dunnr. 1his pcriucJ. H•socally grov~-<>ri~111.,.J !Jut with thopdully) thc kind of comPO>ilio11JI Jnd orc hc_~11 .tllo11,1I Jllfmtion to cfetaif fhílt WC' had .al ways aspue...1lOWdrcJ~. R~orded on ti.., •lbum We Live Nere. (P,1gr 1211)

ANO THEN l KNEW (MPlhen y/Mays) 1994, Miami, fl.1. 1 ikC' thc- others in th is b.-.td1, l.1.1)eU on a 8roovr. On 1h1c; on(', we ltlf our im.lginm1on°' go in o í ¡l~e íom1 J co nstant ly ~h1fting q-f o; chet np,~ unrf'lfllN I ro tht.• rnill
THE GllUS NEXT DOOR (Metheny/Mays) 1(i~)4, Mi.1mi, 1-lc'I. A1 1othcr oí the rare w1mn·-hífü"ri t lln("' in 0tir book. Thb 0 111;! re.tlly wa s 1n'>pi1ecl IJy long walks a rou ncf M ií'lmi ílnrl jtJ $f hf.'arin~ ho·w o f ten l would h e~r t!lis PM!il...ul.lr temµo anrl groov0 comf' 11p. Thi s track lclte l' beta111e un e of rhe most pldycd lr.tt k) us.ed by cfann~rs ílt duhs in Chkago wher e ll1t~re w .i ~ J dance r.r.u::r. fur ,1 few ye.irs rnll <'rl ''Strrrin' ." ! always liked the UriUge/interl ud~ sf!rtior1 in thls th.H Ly le wrotf' fo ¡ MML.: l rdíord to p l.1y, whid~ í~ in tt;.umon k c.:onfmc;t to thf" m;iin Uh.Je~ form of thr trnt,.if hmc. Recorded on the album We Live H ere. (P,lgf' U6J

SOMETHING TO REMIND YOU (Metheny/Mays) 1qq4, Mi:imi, Fl.i One of my recenl i.:1vorile t:ullaborationti w ith 1ylr . \Ne both love r.1rth, W1nd & t-ue, .u"K.l lhb l une b a surt of hom.1gC" to thl"' kmrl5 of melochc stre1d1~ that lh(H ba11d used to inlroduu~ lo worldwic1e am1iC"ncrc-, rC"gu larly when chev 11..-t
fl'd¡:e 338!

r

r

1995, N ew York. N Y. A slow w.1 117 with a m (•lody lhcll open~ uµ J bu11ch of potenti:i l for ~luing. Kind of thr. flir sidt o í " \V,1en \Ne \Vt>rc Fr<*.>." A tum• thílf cam0 in a really natural wíly, almoo;r ;is one lonr. 1ded- d q u1.11i ty that 1 .ilw.1)•¡; hope ior m <.ompo5ition .1nd in improv1salion Recorded un lfw al bum Qu,1rtl't. (P.1~e 35<.JJ

LANGUAGE OF TIME (Metheny/Mays) 1995, Nr.w York, NY. Bec:.ius.e rhi~ ret...Of c. .;1111e lhe v~hirle ior th<"

r '

Kold11U 300 un this re<:ord. R:ccorded on lhe album Qudrlet. fPJ~W Jbl)

MOJAVE (M ethe nyl 1995. New York, i'.'Y. A ~ i m dar melody to '"Som ctimt!~ 1~.. rhic; tinw to he p laycd by Steve Rorlby on thr. ha~s. l\ll .about 1he vil>c vi it. Th b <"t' íltf'r ~rrrion of th1s record is sorne of th(' Omf' o f nl)" favorite reco rding~ of th~ h onrl . Recorded 011 the • lbum Quartet. (l'.18~ JI, ¡ ¡

¡

SECOND THOUGHT (Metheny) 1YY_'), New York, NY. A ~kt!Ld 1 thJt st~t n moori, hu ih to s~t up ~' k.ind o!' lex!l.HJ I im provis..:ttio n. Reco rded un the album Qu;Jrt~I. (P~¡.w 368)

TEARS OF RAIN (Metheny) PJ~)S, 1\jew York, N Y. Wri lfen on anri rlf"~ ign('(t

to feawre the Lmdti M.lnzer- míld f"

.1cous.tic ~itar gui t.ir. The ovcrlonrc; from thi'S ins.11u me11l dr(! vf:!ry p.lrticular, and th i" tune wa~ first presented on thr. rl11C'f n'.'<:ord that C.:h oUI (lvin IOnf'c; for thC' blow111r, se<._'1 ion of this tun{'--('Ven on the ChJrlie vc~ion whic h c1irln 't <'Vf"n ha ....e drnms on it. Recnrdod on the •lbums Beyond the Mi>!f<JUri Sky and Likp Mimfs. l/'.!fie 369)

ON THE NIGHT YOU WERE BORN (Methenyl

TO THE END OF THE WORLD (Melh eny/Mays) 1994, MiJm i. fl a. Kincf of in th C" Yme fami ly oí tu11~ like .. Ar~ You C.oing W1th

Mc?H Jnd ..5=)7." Th ic; Onf' was anoth er wh ere we took a very c.:um mon f°x'íll a nrl tnl"d to ~mwthing o f our own w1th ir. 1 llave d lwJ ys loved the morí' long-íorm tunes that tht"" gro11r> has been committed to ~xµ/uring µ ieceli in thí' right to teon m inute

lt}CVi, Nc-w York. NY. A piecc w rille11 tor ,1 q u mtrt <" lcd by drummer Tuny Will iams. 1k11ew lhal H~rbi e H an<:o d: Wil~ go1ng to he- on the dJlé', <11t
can do. 1 abo knew that Mikf' ArrckN wou ld be 1lw1c, ,111t.I 1 w.mt<'
rnngr. Tl"l1< r<'r ord (We Live Hetf!) ¡~une 1hat seemed to ronft 1 eriod. Recorded c>n the •lbum We Live Here. (f'Jge 342!

w.a~
WF. UVE HERE (Met hen y/Mays) 1~)94, MiMni, fl¡.1. O ri giflall y thought of .i:s ;i kind of modern " fol k" ~ong, il wound up with d ll Jlmosl induslria l tone to it. Written the last d ay OI o ur wriling time;

1996, N ew York, N Y. A p iece wriHen íur t h~ g roup íl;ic;o:, [')0.c; irN, a g rotJp led by b.iss ist MiHf' j()hn so n featu rinr, Hill Frisell .md Joey flriron lhM t ¡f1111ed for lhis 011t' rr-r.orrl ing. 1w .:inted to write su rrn,:thi11g for Bil l 1l nrl ¡ro r!~y w here w e c.01.dd íl'.illy

1v¡~~1t1~1 .1 ~ k ind of .in affNtho ught, it e nded up being the liLle tun~ u { thf> re?c orti.

hlr-nd o ur sounds i n a :.elli ng th ..il hada fo ir!y ílf"nc;f" harmonic voc.dbu l,uy. Thb p ie<:e

Re( orded on the alhum Wr Live Nere. W.>Re 346)

FOR A THOUSAND YEARS (Mclhl'ny)

w<1s al so recorded 011 tlw 1:1füum Uke Minrls, R: ~cord ed oo th e al bum~ The Suund of Summer Rmming and Li ke Min ds. (P,1gf' 17 1J

RED SKY (Metheny/ M oys)

(M~theny)

1994. MiJmi, flíl. Aool hcr ¡.treat lyle 6/ 4 1voove. We h.m1mered o ut tf'w mrlody and

AGGIO PER IL PARADISO (MAIN THEME)

the playing form a vehide for the Kol¡1nd tu ~lu uvt!r for th ic; rN"orri . One that l)('VN c;('('m<'d to translate ro l1ve periom1omce. as soll'WtimN h;ippc-ns. Recorded oo

l 996, Nt!w York, N Y. Thc mJin 1"1rn1<" from the llclli.:1.n íi1111 ut the samC' n.1n1c, ieaturing lhe great Amcrir;in
ª"

tht •lbum We Live Here. !f'•ge 318)

444

r

really t.:true tu life when Mikf' ílrf"ckN pl.riyf'd 1t ,1 iew yc,-n~ IJler. Reco rded on the album Quarlet and later the Mikc Rre-c~e r a lbum Time Is of lhe Essence. 1P.1gf' 158)

STRANGER IN TOWN (Metheny/ Mays) l•ttM, M1am1, Hd. One ul the rJ re c ases wh<"r<" íl

ttJl'l<'

of ours w.as bclsed 011 w hJI

r I_

l

1N 1 1

1 111

11

lt.tt-Jh, N('W York, NY. Tl1r· 1heme tor Jul1<' 11.uri-;\ (·h..i r.1Llt-r. M•.-n l.1, in the

1 1

1 1 1

1 1 1 1 1 1 1 1

1 1 1 1

írom com.-f"nllonal tuning. Dt."
UIJ J lourlh

MARTA'S THEME (Melheny) P.Ts~x¡.uo

ii lm . A "Pl'C i.11 O lll' l ~H rr1r•-Mo;, H .1rn-; '
(r;~e

lllW1il th,11 rt•llt'Lted hf.'r h 11ílli1n V•Ú:"riom J llcJ Sem il;iJity. H:ecorcfC'd on thc- sou ndlrack album for the fílm l'itSSélggío Pcr ti Par.1d:su. rP.1gt: 3i{)J

FAMILY (Mcthcny)

DON'T FO RGET (RENATO' S THEME) (Melheny)

alo;;o from A M~1µ

W fl l«' rl 1) 1( '( '( ' Of

l lJllh. l\c•w York, t\. Y. \N111tC"1l ínr thr ch í1r.1rtN p laved ht->n.• Uy ll.heky K.uyo. l"hri p1N" o nly .l pf K'.1r., m_ •,1r lhl' -..·1l(j oi the movi<", w hrn R~n.1tu i~ ÍJ4...!;!tl wtth an 1mport.1n1 l1fr• df'f"io
IMAGINARY DAY (M cthcny/Mdy>I icJtJ7. Nrw Yrtrk, NY. Ont' of thi..• most 1mportant go.1lco of the PMG h.1!:> been to expiort lon¡.;i-r ÍolTll p iP h,tVt' (lfw.a)'S en1oy<"I trying ro work in WdY~ llMI lr,111'-\ t•ml1-,I 1d1nm~111c dicollllClion, ,md lt.tvt• beerl sen ously committNI to f i11

Wt'f" l\1 lllU'>ll ,ll (!ll(><>tioñCO th,il ~O hPyond tfic ul;1110U~ \.V1th thC' lm~1gin.Jr\ IJ~ly n'< ord .md tl1l! p1t•t e:io wt> wrorc· íor 11, WP n•;:il ly trietl tu up 1h.:i ,1nte towMrlc; thico g<MI (,uul try ing tu r!t tht•!:>t.' pieu -..,. i11tn rflC- ''lí'ad sheet" turrn u f ihi~ book, .¡¡<.¡ 1'> th r c .1~ wilh ...omt' o l 1ht• t>.1di1•r n1o re 11w o!vc' nri~m.1lly eorK.t:'ivt.~d lu íe,1tlffe tlw frí'l l~~ d.i~o;;it·c1 I KUitJr .i new instrumrnthul 11 qtuc ldy morµhed inlo ...oineth111~ fc.tr IX')'Onrl ¡u<>t b~inj.Z J veh it le for
FOLLOW ME (Metheny/Mays) 1'JC'7. Ntw Yo1·k, NY. fht• ti11tin,: 11 1el~Hly is fot md on fhC" oµen hc1m1u r1it .... 01 el tonw n1 1oiMl ly iunN'l gll it.tr. Ki11d 0 1 l oo~(·I ~· insp ired by H1í' m11<:.ic ot Sh J\.\'fl Co lvrn Írom .u n~mrl tht" 1inw-bu1 1alwn tu ~u11 1c odd pl,Kes hMmonica lly íor the w lu ~'(.tu1t1 IX"fwc rti.,ulv1n¡.; 10 .1 c;in~h· kt>y. (Onc ol the iunn1est thing~ '>urrounding thb .1lorl'ml'11lio11t-.. I solo "c•<1141n "'''e, that il wJ:, orn. e ctescnbcd ro mi" h~· ;J <1m1t•mpor,11 v 1,1dio pro1:r.1mmN ,1'., h<-ing uaton~ll, " ~11H.:lhin1~ l hat say<> a 101 .iOOul rh1· 1xld ru lrun.. 1h.11 .i lot or 1h 1s mt''" w.1c; r rc-•ilfl->
•11 11

199<). N~w York. NY. \
uí the tVorld, be<.JmC' thr main m t'lo(fü the111t' ío1 lhe C <'rl on thP i.l!i-Lem..l ing lic.trmo nir fee l 1 n~ th.ll r<'rvilci<·~ tht.. hJrmonit. c.lirl1,1cte r of the <;.f'Ot<' R<'corded on the soundlra c k dlbum for thf' film A Mop of the World. (/',1ge 41 IJJ

OUTCASTS !Methenyl ·1~~~~J • .'\Jr\v York, '\JY. The lhc111e d~?JOCIJl('d w1th thC' rolt" or l low.ml, µl~1ycd l.J\ Jclo • Uav1(l Str;iith,rn1 in the fil nt A fr.-l.1¡J (){rile V\/orfd. A ... 1111r lt' c;ong to go with .i ~ ir 11 p l t:' rn,1n 1n ~ rl 1ffir1J lt c;ituation. Re(.;orded o n the soundtrui.: alhum for rhe film A Map ofthe Worlrl. rP.1¡¡r 411)

HOLDING US (MPrhP.ny) 1999. Ncw Yoik. '\JY A full trt",ifm<'"nl o i the 1he 111e in 1he Mc1P ~or<' thill .ldcif(~~ change lhruugh 1h e events that hc-f)PC'O to fX' m111utcw; ott l hc cnd ing nedit s, so anothrr p irn' from the t.0u11dlrJ t. k ~1l blnn lr:omrlrtf'rl hy thc• time th.1! dc<.i-,ion w,1s m add w(1c; c;1¡hc;titutc-d. Th b µiet...t' unly exi$1s at th<~ C"nd of th(' o;oundl r...i<- k ~dbum . Recordtd on thC' soundtrack .album fur the film A Map nf thr Wnrld. (P.1f:t' •1201

RESOLUTIQN (MPlhP.ny) 1999, l'.ew York, NY ..\flN thC' c.cort- lor M.1.pw~~

done .,nd cldl\ N l"rl, 1c.t.1rt<'rf work

or1 thti ww1Ulrét(k .1lbum. con,hining tht' e ue~ lru m 1hc film w1th c )l,p,tn"iionc, anrl imµ rov i :.Jliu11; U.l~d on thf:> th('m<''>, :mci ~wner.1 l l y t.ikín ~ libc rt1Ps \.v1th tlw mMN1íll

THE HEAT OF THE LJAY (M ~ l hf!n y/Ma ys J

th.it time t:on~tr..i i11b p re ven ted 1n th(' ;irtl111! movi<'. fhh. µi(.'t.(' is som eth in g 1 h .~ 1 !

l 9"J7, Nt'W York, /\. Y Pl,1yc-d on thC" ,\.\,rnzer !i-iL.ir/ guil..:ir; <1 piece th.1 t Íu(!hrr

rfr('anwci uµ hy imdgi11i11g

•uklr<~'><'"i our inlt'll'!:>I in l"ll'Sl'mh lf' r>l,))!ing .md long 111t:-lodtt. deve lopm1•n1 . ThC" IM'>IC nwlodn phrJ~~ of lht• µ1ett' 1s t.onl111t1r1lly c;hiftin~ rhylhruitdlly .md 1s ~ re;i l e h.11lt"n¡.;r lo 1>l.1y live. Ont' uf 1lw more c.ompl<'x p1<•nx. rh,tl lll~ gmup h a5> recorded. .111d nní' or mv rr.11 f.woritc tulk1brn ..11ion s w1th 1yl<'. Rc corded on the all>um

ThNI" ic; .i poinl wh~re Hm·' "ud mu~t rl'<:.ulv<' him~h to t,1kt~ L.ire o t h1s 1.m1dy and CSS('Of1,1lly do lhl' righl t hi 11g. nu!'t IS el 01U'Sical dr-c;rriplion Ot \\ih,1l he 111igl1t h<:l\ie been thin~ing .1c, tw rt'rnini:,tl"
lmagi11.1ry tJily. W.1µ,<' J77)

M•p of 1/1e Worlrl. (l',1gr 41'iJ

TH E /\WAKENING (M el hcny/M.ay'I

TIMELIN E ( FOK ELVIN) IM Pth eny)

rlll' bd!:> ic.. tune was act11.1 lly writt<'n .1~ pJrl uf .i dt!mo íor ,, 11ropo"('l'I film .. cor!' 1h.1t 1wvt•r 111.tll'11.1l iied _ 1showcrl 11 lo 1v i<' whu took tlit• theme<11KI d1d ,111 ''xp.in.;,1011 o n it, whilh b lh\· *crion th<1t 1mm<'<11.llr l}' follm·\~ t i~ t.M:,ic... "At\HA" fo m1 11 w.i, nM.<•r pt-rforrm." ll livi..:: ~mehow u 1u~r ~nw.rt d r-stine µiece i n 1rs entirf''IY in ;my kind 01 rl' ()k ior lhi-. llHll'. Rc(.;orded 011 the album lmil¡:inary Day. rP
PJ•J7,

.~c·w York, /\.'Y.

w,,.,.

THE ROOTS OF COINCIOENCE (M eth cny/ Mays)

<1

!i-Cene th(il d<J('.:.n'I f'X i'il e ither i11 tht• l ilm ut tlie book .

1999, Ncw York 1 NY. One of th(' rC'aJ 1hrilb o! rnv lifo ...'IS ,1 mu,.1f'i.in h;ic, IX'<'l1

occa!'oionJl!y µJrliufMlinr, 111 Oll l'•1(' wllh Mic·hat'I Brec..kcr, 011<: o( the rnost hnl h.mt

improvi,ing 111 u!:>iti.rns 1ha"'e evcr h "f'n .uoumL \\ihen Mikt• tli..·t 1ded lo do .:i r('('Or ) ,-.nd Hvm JonC"c;, 1wa" im:pi rt'( l lu w rite th1f. ut1l 121n~ 'lOmrlhing lh.11 mígl ll ht:' luumJ i11 011e oí l:: lvin's f;imrn 1c; r rcY.."i rhyth111 :,. Recorded on the Micha"'I Brcckcr album Time Is ol fr·;irurin g O'l)Jn tµl..tvt!U

tire Essence. (P,11.w 4 2m

WH AT LJO YOU WANT? (Melheny)

1947, •' l'W Yo1 k, NY. 'IN<' h
1999. /\:ev..· York , '\J Y Thi"i

c...ontr,1'9. A nd 1ht:• <¡OC' ultl IJe 1.x.r.:.~iblt' w1th sounrl 11.;('ff h,1~ alWJ)'f. ht't-, 1,1 111.1101 'omponenl uf rhr group'o;; mis!:.io 11. Tli i~ lune, '"hich drciwco on twboµ •1~ mu Jlit• vvt•11 rock tPxt nr~ (;i h.m1 n imbin,1tio11 10 mJke w -ork ) w.1'> ,i n ,1flc'mp1 lo
Grc11.=id ier on bas" .lnrl ílill Stcwart un drum~ .ti 1he end of nm ... ummN worlciwidl:!

ACROSS THE SKY (M c 1heny/M.1y'I l ttlJ i, '\Jc•w Ymk, '\IV. A µ ieu: 1hL11 lylC' brnught in íor thi!. rt.'<.ord. Thert- were Jll"I .l fpw nl<'lod1< r ontriOOtion\ lru111 mt:, nl.l1nly tht' t~g .ir th<• c•nd ot lhe 111,.Jin melocly.

N:ecord e
A STORY WITHIN A STORY lML•lheny/M .1ys) 1111; 7, Nt-w York, f\. Y. t\ lunt• tVtlnd:ted to "So M;iy lt S<•c rt'tly Bt-gi 11 ·' c.1nd "557," 111 thctl lhf' IM"'" lmí'
TOO SOON TOMORROW !Methf'n yl l'J'J/ , Nt·w York, NY. \.'Vritlt·n (k u1 ng 1hc.· Mll1a l rrc orrlin¡.: ol t l 1~ .-tlbum one night .if11·r .1r.<''ic;ion . \o\1t' ,.,.·ere.' k ind ot ..:.ho rt on(' t ime, .1n li t nic.:t! ly \·v ifh 1he oth er muw . Wri tr('fl .1rnl pntornwd r1101t• like the \\.'
RALLAD Z (Melheny) llf':t l. \·V1tlow, NY. A tunl' th,11 1 fe h wou ld lw nin• wirh f\\,O !:jUil.:1ry....-{jil <.;oldsl('ln thd l,,('Vt•r,11 .1rr,rn~c11tt.·11I'> oi 1h1s lullf' fot v.mou<> pmjell~ ~íore u ilnally f(lund ,1 honw ''º lh('

w;i~ lht.> lir~t u {

livc new llmes wnttrn íor thf' trio ot lJrry

lour. 1 ltitd never really wnt1<'n ;i "rhylhrn c..hJ11gl~,. lu ne, Llnd 1hough1 1 woulci rry• Record~J on lhe Albu m r,io 4'4-+00. (f',1se 4191

JUST LIKE THE DAY (M elhen yJ 1999. Ncw York , \J Y. Tr~weling 1n lta ly fll;iying co m:erl> b o rit· ul the real thn ll.; oi my lifc• .i mutiili~rn. 1 <... ..rn 'I ber,m w 'Sc.ty how much 1 Jµµret. i,1le lhc .-1udi ences <1nrl thc (')(',111tv of tht" µl.1yi 11g !i-itu.Htoni;, there. 1 wan rNi to wrilt• ,1 tu1 1~ lh.:11 t.:1µ1w ed th(· iC'C'li nK oí wh.1t it i~ like tu lf dvel ,uound ll<1 ly in lh<' c;ummer µJ.1~· i ng lor lhose \Von derfu l propl<' in rhose wondt>rful µl.u.. t-~ RecordNf o n thc album Trio 99-00.

ª"

(l',1¡:e 4J/)

THE SUN IN MONTREAL (Metheny) 19 7,1/199'), Mon tH.:al/N<'w York, NY. Th i ~ ¡;il·n· \~ ti~ M .lltally !i-lt111Ni '>Of"!H' 2~ )'blí) beiu rt' iL w J :. íinished-fo r thr f<'r nrrling of the l rio i n '99. Montre.11 r('n,a1n<. on<~ of

my fJvuril~ µ1 .it.e.,, but espen{lfly 11l thr ~ummer. Thb

w,-t) !lla1ted on il hot .:;ummrr

alhum Trio 99-00. (l',1¡w 4JOJ

SOUL COWBO Y (Melhcny) l 9YY, Nt"VY York, /\.'Y. \ r\1he11 pl,1ymr, trio ¡.;ig.; ovN thf' yP.\r!'>, it hJ~ .ilw.tv!:> l>een nict' to '51.:trt th<' n1gh1 o ul \·Vilh '>omet hin~1 simple li k'-' a hlu<".;;, not roo l.1~1. Th i~ i:. -~ p1ece ~µeci fic<1 ll y dro;1gnNI to p rovide tl1,,H lunuion . 1he M I<' r.imr from somelhing J guv out orl th(• ~trN"t 1n imnt of the rec.ording s1ud10 yelled lo '>nnl<'O IW ju~;I .1~ 1 w,ilkt.oc.I i11 fo1 -el nw
.ie111.1ll~

A M/\P OF THE WORLD (Ml'ihl'ny) 111'H\, ,'\rw York, NY. ).111e H.un ilton'i book prov ici('ci th<' in!iµirJtiu11 fur this p1 ece l l"W.• ,,,m11lf''.li'.1ly oí <.m,1l l tow11 <..u l1u1c in 1he Amen< .111 m1rlw<•c;.t i~ rn l ly explrned in

hM' pownfol novC'I. 'Nrifl(~n u~in~ ,11111111.ature Luxfo Miln/N c;.tc-el string ~u ilc.tJ tuned

(GO) G ET IT (Mt•ihenyl l ~)99. N1;:w Yor'k . ~Y. /\nothrr in th<' b,it<.h ot ne•..v lum~!> w111ten íor th<' Trio 99-t()() a lbu m. Sorrn:!li111t:~. writi ng a ttm(' thm fC"Ml.JrPS a ~.imi lJr Vtx.dl.iu1M v ,1s o nc's g<'nN,l l r Jaying VOCl bUI J r }' L.1 11 p rovide 1mprOv i ~tJ! ion,i! ins ighl. r l;.1yi1l)i .) ldSl b!ue" h;i.:; ,11\, ,1yc; h<"<'n ;¡ tJvurile t:un~ l0t me m that r<'gt1rd. Pl:i.yt"<J in tlie kcy of A ma1or, r-t rMC'ly <'Xplorc"fl key ior lhi:. kincl 01 pl.l)ln!{. Recorrled on the album Trio 99-00. W <' ~ lbJ

445

~

• 111

"'"11.....

,......

..

d

ii¡

"I

••l .....

l~

.... Thoughts on lmprovisation, Composition, and Musical Conception

"/ laving grown up i11 one of the most exciting ;;()(/ turbulent periods in m11sic history (the sixtil's and seventies), o nl' of the bir,gest clri!lll'n¡;es for my own ;md s11bsec¡t1e11t generations of mt1siciam has hepn to reconcile thl' eleme11ts of the lrddition as defined by tire mi!8IN5 th.it have in(/ucnu~rl us so deeply with thP p;irticuiar re,1/ities of the wor/d that we finú ourselves living in «11ú thl' rhanging terrain thi!t identifies the musiuil fabric o( our era (mm others. Ultimate/y, playing stanclards ancl /1/ul's, as much as / /ovl' IN5. Hui to forns c,xc/usively on that tiltimat<:ly felt like a way out fmrn thP much more ditfü·u/t ,md essenti¿¡f task of iinding my ow11 pdrtirnlar music,11 syntax l1il<;l'd on the /a11guage that I /e,1mcd from ¡1laying in those cnvimnments th,1t reflccted not rhe theoreticcil irlf'af, that I may havc !J/immpred from stepµing into someonc cfs('\ _,hoes through emuldtion or /r;tnscriptio11, /Jut things lhilt wcn.· truP ro me, that wcrc wmnant to me <1nd hacl mf'aning to thc time I found mysclí living in. / m,1dc a commitment to forns cm anrl try to bring into sound the ideas J wd.~ hParing in my hcacl that might not ha ve cxisted until my time, thi11g> thilt were partiwf,lf to wh,11 w,1s possi/Jle spiriwa lly, Ct1lturally, ,1nrl technologica/ly to the life expcrienc:l's thilt had informecl thl' deve lopment of my own person,1/ acsthetic values. h - Downbeat magazine, 1998

•

"/ realized, «; my own playing was developing, that therc was / w.inted to µlay "nd write that real/y had almost nothing lo e/o with w/1at wou/d lie ilfll>ropriate if I werc µli!ying or writing i11 moff' trilditiona l idiomaric: ways. In some way;, thi.' w,15 sc.irythcre w,1s no road m.ip far this at al/. As time wc11t on, I tried lo w rilC 1u11es anrl attempted to set up playing situations that wn11/d íe,1ttire those kinds of hMmonic an
446

" To me, in ordf!r to play the blues and make it have mcaning, yo u have to tell your own story in your own words. To adopt thc m.mnnisms, tech11iqm:.1 and, ' idiomatic cf(ec:ts' of a master and ,1pe tlwm in the n,1mc o( authenticity to a convoluted (;ind usual/y letlmecl) ide,1/ o( ,1 'pllre' style is to automalica/ly disc¡ualify yoursclf ímm .singing yot1r own füng. forme, evcryi/1ing I play is the blucs- il1dt is, it is the cry, t/11-! manifest,1tion o( my own persoml rclatiomhip with music. SometirnPs I get muc/1 closer to the ieve/ of hwndn expression that / wanl to communicate than mhers. I would say that thP guys wh o are Jitmer.11/y agreed to be thl' hest 'blues' pltlyers ;¡rp ;imong the most .suc:cf'ssful nmsicians cwr at manifesting into .wund their re,1lity as people. rhe samc w,1y tlrey a1pire to communicdte the things ¡/¡,¡/ llwy hi!ve found

to /1e true, so do l. But the first priori/y far me is to use my own cxperiences and imagindtion to tell my own 5/ury, hec.,w se th.Jt's thc only one I can tell that wi// he true- thc cssential c¡uality that ally we;¡f m11sic nwst havc ro resona te." -PMCLN, 1999

• "/ would have to .•i!Y that almost every ;¡/lempt I have ever he1ml of someone t1 yillX to define what thc 'pu re' version of a pa1tic u/ar idiom is, is almos/ a/w;¡ys a iutile act. Partirn/;ir/y when it comí!., to a very complcx .rnbiect like t/1e onr. of how music ha.'i developed in Amcrica o wr the past / 50 ycars. Pretty much ali o! 1hc (rc/atiVPlyJ sho1th<1nd amwers that you read about in books by self-appointerl custodians of whichever brancl1 of tlw tree that they are lrying to r!etlne, fa// flat i11 thP face of the actual rnusic. I guess by now, it is known that / am skPptical of the vcry idei! of generalizcd ami artificial idiomatic distinctions being made in the first place when it rnmes to music, a11ú ¡1;irticularly as we pmwess more and more in d worlrl where peop/e dll ov¡;r the pla1Jcl have accl:'ss to al/ the mu .~i<- that has ever bee11 recorded, it will be hdrcler ;md harder to prop 11p the mytho/o¡jy of sorne kind of 1101Jc!xistent 'purity' in music that for some rcd~m nmtinues to ícstcr in the academic ami pf'rl,~ntic minds tha l -">mPtimes are gi1,cn the unnecessary jobo( qu;mtifyin¡; t/Je unquantifiable. " -PMCLN, 1999 "Swing is llOl a _1tyle ora techniquc; any kind of music kind cdn swing. Surely thc whole concept of swinging has been arouncl from the days o( flw edrliest musicians uniln rlifferent names i11 their different culwres- fiut the idea has lo havP always bcc11 therl', so deep is its human rf'sonance. Swing is everything that lwppens-and the way it ha11rwns- -in betwccn the notes. Swing is lhe Ji/UP that s t/10.1!! notes, formed by d musician's sensitivily to time- · on both micro ;¡nrl macro levcl-lhdt bonds discrete ideas ilnd musical geslures into phrases and forms a musician 's (unúdml'ntal personna. 11 is ff'd by the abilitic.1 of thl' players to listen to the musicians and the c:ult11re around them to find a way of i/lw11i11ating and enhancin¡¡ tire collective meaninx of their existence throu¡jh time expressecl as music. " - PMC LN, 1999 "In my experience, almost any form of musical pllrism is very otien a mask for laziness. Things arP never as simple as ;¡ p11rist wo11/d havc yuu lwlieve. Addressinp, lhe rnmp/exity of a world as mu/ti /evelcd as n1usic- and especially jazz and its history-a.1 a serious musician or fotl:'nn event11ally musl, rn11st ,1fways /cae/ you to c¡uestions that fiercely fly in the fac;e of the usual glib comments that are oítcn found in books and mawizinl'' abo11t the subject. I would ,1/ways i-nrnurage anyonc reacling anything aboul a11y i!Spect of jazz lo disc.rnmt about 99 perc:ent of what they rc
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both e.1sier rh,111 c·ver ,md al 1he <;ame time ¿¡fmost comph:tefy irrelev.1111. New ideas and combina/ion; oí ideas becomP almost public domain upon conception in this 11ew environmn1t. W/1en 1 see someonP use /he term 'fusion' as if it has any real meaning, il a/11111.11 dfwJ ys winds uµ /1eit1J? more of statemenl aboui ihat per.1011-Jnd often thPir limitcd or 1111informed µcrspective of ren·nt music liistory- thdn the music in question. Wh,1t 1 have rritxl to do with my own music is the same thing that hJs been an i111po11,111t p.1rt of m,my (namcd ,1nd 11nnamed) lraditions from thP vcry beginning. I h,it i.'i, to reconcile the partirnlar elements oi the world that I /J¡¡ ve found myse/f living in <.1s J musicianspecific.1/Jy in my cJse, the harmonic; rhythmic, anrl melotlic material~ oí ,1/1 ot the human ,md nJt11ral music of the fiíties, six1ie1, 1evc11/ics, eig /1Nes, anrl nineties that 1 havP been cxposed to and lovccl and the m111i1<1/ inslrument technolog y (pianos, guit,ir<;, clrnmsc/s, other acou.1tic and electric instruments, brass .wrl w1x1dwind instrument;, occJsional string orchestras, sc1mplers. synthesi?i:rs- al/ the uvailable sounrí making tools of our time) of thal sc1me period-with a personal vision of improvisation."

- PMGLN, 1'l99 "The mosl im¡iortJnl commitment you CJn mJke is to the mu;ic ÍJn th.11 liVf's imidc oí you, to find out jusi what it is ahoul music th,11 r1'.11/y, real/y knocks you out. In lhilt discovery, you' ll lind mo'it oí whal you need to know to take yo11 wht0rever you need logo. "

- Berklee Commencement Address, 1996

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"Rc,11/y good, Sl'fiou.'i musical work has rl way of finding its w;¡y out lo the peo(lle. Rdrcly, if ever afler .i/J thcsc ye,1rs, have I run across sommrw w/10 h.is something thdt lhcy've developed that's truly v,•1/ua/1/e fo ofíer as a musicid n who doesn 't final/y end LIP with 0¡1¡x1rtunities to turn those ideas inlo some kind o( a career. lt may t<1kc awhile, certainly .somc slylistic paths oííer d ifferent kind.1 ot resist.in ce than other.1, bul usually the chances show up if w/1<11 thc music i,111 has to offcr is real/y stmng, rca /Jy sin cere, dr11/ i> honestly represcntivc oí who 1hey are .is musicians, rcg,irdless of thP styfülic zone."

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"Wben I think of the bes/ impmvisers /'ve been arormrl, they al/ have one lhing i11 common: Every idea that they haw, lh<'Y icl it fully /Je irse/(, right uµ to ils nJtural conclmion. So n:any improvisers lh ,it I hear, i/'.s ;¡/mosl likc sou11dbites: rhey play this, then il 's ove1; lhen they play lh.il. lhen that. ·¡ hP f1e.sl solos lhat /'ve played, it's re,1/ly one iiÍCd. You take that rme itlcd, Jnd yo11 tlnd a w.iy of going with it to lhe end. Th<1t'I füm elhinp, t/1at 1 alway.s cnco11rage musicians lo think more d/Joul, beca11se that'.'i something thrit no11-m11sicians c:an respond to, a stylP f/1al expands on sin¡¡le ideas so that anyrme. musiciJn or not, can follow the linr~ . •·

-Musician magazine, 1997 "/ d/wJ ys s11ggest th;ir you nx musicians spenrl ;is much lime as pmsiblc around musicia11s who are better than they are. Oespite .i/J of thc excel/ent ed11c.itiona l materials tha1 arl' oul lhere, music is s1il/ esse11tially a ·s¡x>ken' tradition, and the 'apprenticeship' sy;lcm th,lt has been a par! of that tradi1io11 i; in plac(' far gnorl re¿¡son. lí you arf' the besl f;tJY in the hand. gel in ,mother banrl.' "

..

- PMGLN, 1998

" /mpmvisinfi on chord change.'i i.s a lot like giving a .1pccdi about a fairly complex subject m ing (airly complex gran1mJrtherP i.s no way you can j11~t winJ? il, you have to haw done a lot of research i11to the subjPr:t and have a p rl:'rty wide r.ing ing vocabulary that makes 1h1-.· language in ali its potenli
- PMGLN, 1998

" The elem1~11t; th.it make uµ thP top leve/ of someone'<, musicwha t ir .101mds like, w ha1 the obvious influences are, the instrumen/Jl ion, the virtumity o( il (or lack therPofJ-.i ll o( these thi11g1 lo .i certain degree .1imply m,1ke uµ the er1vclope that the mu.1it ilsclí is deliverP
"Music is almo.'il a compulsion far me. /Ju/ no/ in a bad way. 11 is jusi somPthing t/1al l need to do, that I /ove 10 do. And in mdny ways, I don't cven see it as somet/1ing h.iving to do wit/1 wh re
- PMGLN, 1999

-Jazzunline, 1998

"fJp1pite wh.ilcver kinds of trridilional successes or fa ilures that may ()r may 11ot happen 10 a 111usicia11 over the course oí one's carcer, thc best rew,1rrls vou w ill receive are always c mbedded in the aclu.il music it.se/f 1/1at yo11 will make. Tl1at is. you mayor may no/ have success /¡y thc slandards that society in general uses f() quantiíy 1hing.1 likc lh.it, but the real genuine true s11cce.'is thdl lranscend; lhe tf¿¡y 10 day srulf is µonna be in the fact thdl you know alx1ul music and are íntim;¡fely (.imiliar w ilh not 011/y music it~lí. /Jut lhc process oi making it. ''

"Somelimes you hear kid.s in a garage somewhere who c,111 j usi IJdrely play their in.<;frumcnls and are hinin.~ it wilh J kind of fcrocious. undeniahle spiril that has a power dlld energy that no one e/se other 1ha11 t/1ose kids playing or1 that e/ay in that pi.ice will ever achieve in lh.it particular wny. "

-Berklee Cummencement Add ress, 1996

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- PMGLN, 1999

- Berklee Commencement Addrcss, 1996

• 447

ACKNO\!\'LEDGJ\ 1EN.TS 1

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Mctheny

would

like

to

thank :

everyone at Hal Leonard Corporationtheir patience and persistence over the

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thirteen years that thi s book took to bccome a reality is sincerely apprec iated; Lyle M ays- one of the best musicians on the planet; Steve Rodby-for providing majar in so many different areas, musically and otherwise; all the PMG past and present and all of the great mu sicians whose presence on the live and

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recorded versions of these tunes gave them life; Jeff Schroedl ; Andy Al edort; Tommy Kamp; Dan Towey; Steven Cantor; David Sholemson, Ted Kurland, and everyone at TKA; everyone at lbanez guitars; everyone at D' Addario stri ngs;

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1

Linda Manzer; David Oakes; Carolyn Chrzan; Dave, Lois, and especia ll y Mike Metheny for

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their and inspiration ; Tommy Ru skin, Gary Sivi ls, Paul Smith, and John Elliott; John McKee; Kevin Clements; and extra special thanks to Latifa and Nicolas Djakccm.

448

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