You know the guy: long, bushy hair, beatific grin, jeans, sneakers, long-sleeved T-shirt, usually rhapsodizing intensely via some kind of guitar gizmo.
Despite his many stylistic detours, Pat Metheny is a brand all right, and his music inspires a devotion and attendant sales profile that has rarely – if ever – been afforded to ‘jazz’ musicians.
If you – like me – aren’t always enamoured by the bulletproof sincerity of his stage presentation (in Gary Giddins’ memorable words, he ‘intones plush melodies with excessive sobriety, as though the notes were transmitted directly from God’ – the main reason why I’ve always preferred his stuff on record rather than live…), it’s beyond doubt that Metheny is one of the great guitar soloists.
Mervyn Cooke’s superb new book ‘Pat Metheny: The ECM Years, 1975-1984′ sheds light on the first – and, for me, best – decade of the guitarist’s recording career, when he was the famous European jazz label’s top turn.
It’s an academic study, though never boring and certainly never predictable, with close attention played to Pat’s guitar styles, musical history, tunings, key collaborators (loads of new stuff about Jaco, Charlie Haden, Michael Brecker, Gary Burton and Lyle Mays here), equipment, album cover designs and inspirations.
There are fascinating details, like Metheny’s obsession with flat ride cymbals (hence his deliberate placement of drummers onstage, ride cymbals always in close proximity to his left ear) and his singular band-leading philosophies. There are solo transcriptions and quotes from archive interviews.
Cooke also shrewdly compares Metheny’s studio work in this era to that of Weather Report’s, drawing parallels between both acts’ meticulous sculpting of ‘spontaneous’ musical performances and attempts to concoct ‘through-composed’ – rather than vamp-based – material.
Metheny fans will love ‘The ECM Years’, as will anyone who has even the faintest interest in guitar trends of the last 40 years. It also serves as a rich biography of ECM Records in its early years, with numerous revelations about label boss Manfred Eicher.
Reading the book sent me running back to choice cuts from Pat’s early albums that I liked during my teenage years – Bright Size Life, American Garage, 80/81, As Falls Wichita, So Falls Wichita Falls, Travels, Rejoicing, First Circle, Song X.
Revisiting As Falls Wichita in particular has been somewhat of a revelation. (Prog fans: check out side one. It’s a cinematic masterpiece, analysed in great detail by Cooke.)
Mervyn Cooke’s ‘Pat Metheny: The ECM Years, 1975-1984’ is published by Oxford University Press.