Pat Metheny & Lyle Mays: As Falls Wichita, So Falls Wichita Falls 40 Years On

‘A game of two halves’ is a common expression in football, but it can apply to albums too.

We all know albums which have one good side and one bad one (I’ll throw in The Seeds Of Love, Fulfingness’ First Finale, Music Of My Mind, The Colour Of Spring for your consideration…).

But another humdinger is As Falls Wichita, So Falls Wichita Falls, released 40 years ago today.

The Cult Of Metheny has ensnared many, and puzzled just as many. But As Falls Wichita fell smack bang in my favourite era of Pat’s music (between American Garage and Song X), and represented a real change of scene.

Side one’s 20-minute title track delivered a full-on prog/fusion masterwork, ably assisted by Lyle Mays in classic-synth heaven (Prophet 5, various Oberheims, Roland CR-78 and Linn LM-1 drum machines), always totally recognisable, and at a time when polyphonic playing had just become possible. He was rapidly becoming a Joe Zawinul for the 1980s.

‘As Falls Wichita’ may be the most ‘rock’ music released on the ECM label during the 1980s, with the possible exception of David Torn’s 1987 record Cloud About Mercury. It also seems dangerously ambitious. Then again, the whole album was recorded in just three days! Lesser musicians could have taken a month to record this track alone.

Apparently chiefly written to play over the PA system before Metheny Group concerts, it’s pure headphone music. The enigmatic title (apparently nicked, with permission, from an unreleased Steve Swallow composition) and superb album cover certainly help.

The track plays out like a good movie (its working title was ‘Apocalypse When’). It’s more John Carpenter than Keith Jarrett. You might even describe it as cathartic, dammit.

(Another reason for its success may be the complete lack of instrumental solos. Pat doesn’t get any solo space at all – he just plays some unobtrusive bass, chiming 12-string electric and a little six-string. All sounds are textural and in the service of the whole piece.)

A superb live version was featured on the 1983 Metheny Group album Travels. And those who remember the Christian Dior ‘Fahrenheit’ adverts in the late 1980s may be familiar with a small excerpt of the track:

But back to that ‘album of two halves’ thing. Sadly, side two of As Falls Wichita is New-Age sludge. Ponderous and flabby, it’s fuel to Pat detractors, but probably loved by acolytes.

‘September Fifteenth’, a tribute to Bill Evans (named for the date of the great jazz pianist’s death in 1980) is the chief culprit. A closing, out-of-tune version of ‘Amazing Grace’ doesn’t help. It’s music for tired Apple executives, and sounds like it was recorded in the last afternoon of the three days.

But As Falls Wichita was an unexpected smash by ‘jazz’ standards: the album got to #1 on the Billboard Jazz Charts and quickly became Metheny’s biggest seller to date. So happy 40th birthday to the classic title track. Pour yourself something tall, tune in, drop out, get the headphones on, lie on the floor and crank it up. It’s a trip, man…

Further reading: ‘Pat Metheny: The ECM Years’ by Mervyn Cooke