The get-go Pat Metheny Group recording inward 5 years is a chip odd inward ii ways. The band uses "contemporary" pop rhythms on many of their selections simply inward creative ways in addition to without watering downward the pop group's musical identity. In improver Metheny for the get-go fourth dimension inward his recording career sounds a chip similar his early on influence Wes Montgomery on a few of the songs. With his longtime sidemen (keyboardist Lyle Mays, bassist Steve Rodby in addition to drummer Paul Wertico) all inward top form, Metheny successfully reconciles his quartet's audio amongst that of the pop music world, using modern applied scientific discipline to expand the possibilities of his ain odd vision of creative improvised music. And as a bonus, some of the melodies are catchy.
Returning to the dual-vocal septet line-up of Still Life (Talking) (released inward 1987; reissued this yr yesteryear Nonesuch) amongst percussionist Luis Conte replacing Armando Marçal, We Live Here's utilisation of programmed beat loops in addition to easy-on-the-ears grooves could travel considered a concerted commercial endeavor yesteryear Metheny to expand his already substantial audience. But it also represented its ain form of risk.
Metheny Group fans are typically drawn to the rigid feel of tune that's defined the bulk of Metheny's writing—alone in addition to amongst constant collaborator in addition to Metheny Group keyboardist since inception, Lyle Mays. But the opening one-two-three punch of "Here to Stay," "And Then I Knew" in addition to "The Girls Next Door," threatens, at to the lowest degree on the surface, to cross the fine trouble that Metheny in addition to Mays sometimes straddle betwixt music of depth in addition to essence in addition to mere ear candy.
Many longtime Metheny fans feared that he'd gone besides far. But piece the album's production values are as around pop as anything Metheny has always done, the push clitoris in addition to commitment of the playing elevates the music beyond elementary confection. And piece much of the music lacks, for example, the tricky fourth dimension signatures that are oftentimes part of the Metheny/Mays writing approach, there's far to a greater extent than hither than similar a shot meets the ear.
The bulk of the songs on the album reverberate an involvement inward person in addition to R&B that, given Metheny's already wide purview, should come upward as no surprise. But piece the soft ballad "Something To Remind You" bears the ear-marks of groups similar Earth Wind & Fire amongst its clear verse-chorus form, it's even hence undeniably filtered through Metheny in addition to Mays' ain musical sensibilities. The poesy is longer than most pop tunes would allow, in addition to piece it sure sounds effortless, its changes are anything but.
Similarly, the to a greater extent than insistent in addition to up-tempo "Red Sky" possesses a singable chorus featuring the lyricless vocals of David Blamires in addition to Mark Ledford (who, sadly, passed away inward 2004). But the changes of its as lengthy poesy would over again challenge most players. Just because something sounds this tardily doesn't hateful it is tardily and, inward some ways, We Live Here could travel considered the Pat Metheny Group's most subversive record.
Despite the album's glossy veneer, at that topographic point are tracks that—despite groove existence an essential component—are anything simply smooth. The tribal beat of the championship runway is a logical expansion of ideas get-go explored on "Barcarole," the opening runway on Offramp (ECM, 1981). "Episode D'Azur," sporting a knottier subject as good as shifting bar lines that are to a greater extent than inward character, doesn't just swing simply it comes closer to what Metheny Group naysayers catch to travel "real" jazz, despite Mays' layering of string washes in addition to signature synthesizer tone. And the album closer, "Stranger inward Town," is a to a greater extent than pedal-to-the-metal burner than anything else flora on the record, featuring some of Metheny's most lithe playing—especially during the brief middle department that's more- or-less an interactive trio spot for Metheny, drummer Paul Wertico in addition to Conte.
One of the biggest criticisms of the Pat Metheny Group is that, as it has evolved over the yesteryear iii decades, it's larn less in addition to less close the run a peril that many experience to travel a defining feature inward jazz. And it's truthful that there's a pregnant distance betwixt albums similar We Live Here in addition to Metheny's collaboration amongst gratis jazz legend Ornette Coleman on Song X (released 1985; reissued yesteryear Nonesuch inward 2005).
But the finely-detailed, through-composed approach of the Pat Metheny Group on We Live Here in addition to before records has been at to the lowest degree partially responsible for a epitome shift allowing jazz artists to explore to a greater extent than complex ideas while, at the same time, remaining completely accessible—not to yell incorporating contemporary production values inward ways that necessitate non travel inherently paradoxical or antithetical to the spirit of jazz. And piece We Live Here was met amongst a sure sum of surprise in addition to disappointment on master release, fifty-fifty from longtime Metheny Group fans, it's weathered the assay of fourth dimension extremely well. Taken inward context of the group's overall trunk of work, it is ultimately some other signpost along its long in addition to varied journey.
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Track listing
All tracks written yesteryear Pat Metheny in addition to Lyle Mays except where noted.
1. "Here to Stay" 7:39
2. "And Then I Knew" 7:53
3. "The Girls Next Door" 5:30
4. "To the End of the World" 12:15
5. "We Live Here" 4:12
6. "Episode d'Azur" (Mays) 8:45
7. "Something to Remind You" 7:04
8. "Red Sky" 7:36
9. "Stranger inward Town" 6:11
Personnel:
Pat Metheny – guitars, guitar synthesizer
Lyle Mays – piano, keyboards
Steve Rodby – acoustic in addition to electrical bass
Paul Wertico – drums
David Blamires – vocals
Mark Ledford – vocals, trumpet, Flugelhorn, Whistling
Luis Conte – percussion
Sammy Merendino – drum programming
Dave Samuels – cymbal rolls
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