The outset Pat Metheny Group recording inwards 5 years is a flake odd inwards 2 ways. The band uses "contemporary" pop rhythms on many of their selections just inwards creative ways as well as without watering downward the pop group's musical identity. In improver Metheny for the outset fourth dimension inwards his recording career sounds a flake similar his early on influence Wes Montgomery on a few of the songs. With his longtime sidemen (keyboardist Lyle Mays, bassist Steve Rodby as well as drummer Paul Wertico) all inwards top form, Metheny successfully reconciles his quartet's audio amongst that of the pop music world, using modern technology 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 inwards 1987; reissued this twelvemonth past times Nonesuch) amongst percussionist Luis Conte replacing Armando Marçal, We Live Here's usage of programmed musical rhythm loops as well as easy-on-the-ears grooves could last considered a concerted commercial endeavor past times Metheny to expand his already substantial audience. But it also represented its ain sort of risk.
Metheny Group fans are typically drawn to the potent feel of tune that's defined the bulk of Metheny's writing—alone as well as amongst constant collaborator as well as Metheny Group keyboardist since inception, Lyle Mays. But the opening one-two-three punch of "Here to Stay," "And Then I Knew" as well as "The Girls Next Door," threatens, at to the lowest degree on the surface, to cross the fine work that Metheny as well as Mays sometimes straddle betwixt music of depth as well as core as well as mere ear candy.
Many longtime Metheny fans feared that he'd gone as good far. But spell the album's production values are as some pop as anything Metheny has always done, the push clitoris as well as commitment of the playing elevates the music beyond uncomplicated confection. And spell much of the music lacks, for example, the tricky fourth dimension signatures that are oftentimes business office of the Metheny/Mays writing approach, there's far to a greater extent than hither than straight off meets the ear.
The bulk of the songs on the album reverberate an involvement inwards somebody as well as R&B that, given Metheny's already wide purview, should come upwards as no surprise. But spell the soft ballad "Something To Remind You" bears the ear-marks of groups similar globe Wind & Fire amongst its clear verse-chorus form, it's nonetheless undeniably filtered through Metheny as well as Mays' ain musical sensibilities. The poesy is longer than most pop tunes would allow, as well as spell it surely sounds effortless, its changes are anything but.
Similarly, the to a greater extent than insistent as well as up-tempo "Red Sky" possesses a singable chorus featuring the lyricless vocals of David Blamires as well as Mark Ledford (who, sadly, passed away inwards 2004). But the changes of its as lengthy poesy would in ane lawsuit again challenge most players. Just because something sounds this slowly doesn't hateful it is slowly and, inwards some ways, We Live Here could last considered the Pat Metheny Group's most subversive record.
Despite the album's glossy veneer, at that spot are tracks that—despite groove existence an essential component—are anything just smooth. The tribal musical rhythm of the championship runway is a logical expansion of ideas outset 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 inwards character, doesn't just swing just it comes closer to what Metheny Group naysayers see to last "real" jazz, despite Mays' layering of string washes as well as signature synthesizer tone. And the album closer, "Stranger inwards Town," is a to a greater extent than pedal-to-the-metal burner than anything else institute 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 as well as Conte.
One of the biggest criticisms of the Pat Metheny Group is that, as it has evolved over the past times iii decades, it's locomote less as well as less nigh the run a peril that many experience to last a defining feature inwards jazz. And it's truthful that there's a pregnant distance betwixt albums similar We Live Here as well as Metheny's collaboration amongst costless jazz legend Ornette Coleman on Song X (released 1985; reissued past times Nonesuch inwards 2005).
But the finely-detailed, through-composed approach of the Pat Metheny Group on We Live Here as well as 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 refer incorporating contemporary production values inwards ways that postulate non last inherently paradoxical or antithetical to the spirit of jazz. And spell We Live Here was met amongst a sure sum of surprise as well as disappointment on master copy release, fifty-fifty from longtime Metheny Group fans, it's weathered the essay of fourth dimension extremely well. Taken inwards context of the group's overall torso of work, it is ultimately some other signpost along its long as well as varied journey.
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Track listing
All tracks written past times Pat Metheny as well as 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 inwards Town" 6:11
Personnel:
Pat Metheny – guitars, guitar synthesizer
Lyle Mays – piano, keyboards
Steve Rodby – acoustic as well as 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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