antoniodeste

If Metheny has expressed the opinions he has about this work, there must be a reason.... I know this album by heart, including the breaks of "The Epic," and I find it pleasant, invigorating, and sunny. "Airstream" is caressing, and the central crescendo of "Heartland" still gives me chills. I still smile when I hear Gottlieb with "one, two, one two three" in the intro of "American Garage" (which is rock'n'roll), and after almost thirty years of listening to this album, I find that.... perhaps it lacks a bit of depth. Is this perhaps what embarrasses Metheny?

An interesting review that rightly shines a spotlight on a often-overlooked figure of 70s Anglo-Saxon folk. I'm not specifically familiar with the anthology in question, but I believe that listening to Sandy's work with Fotheringay and Fairport Convention is more than enough to appreciate the depth of her voice and her uncommon interpretative skills. Besides the mentioned "The North Star Grassman", I would add the extraordinary "Sandy"; the cover features some of the most beautiful close-up photographs of Sandy. For those interested, all four of Denny's solo works have recently been reissued in a rich format by Island, complete with interesting bonuses.

For the rest, your review has nothing wrong with it; it is well written, accurately recounts the phases of the album, and interprets what is happening. Personally, I might not have emphasized "LoneJack" so much, as it doesn’t seem to hold a prominent place in the Metheny repertoire. I’ve seen Metheny live seven times over 16 years, and if memory serves me right, "Lone Jack" was never played. But these are details I consider negligible and/or subjective. Like the back cover photo. When I saw it for the first time (in '79), it captured the look of four guys no more and no less similar to a thousand others like them: simply dressed, hair "free" as it was the style then, and low "profile"; the exact opposite of the "glamour" photos that are taken today to fool the eyes of teenagers (and not just them). As for the "genre in a stall" you mention, I’ll tell you that at the time, the so-called jazz-rock (as it was called then) was not, I believe, in a "stall"; Chick Corea, McLaughlin, Ponty, Stanley Clarke, Al Di Meola, Brand X, Steps, Sanborn, Yellowjackets, Zawinul himself, and a myriad of other names were traversing this path, showing the possible directions it could take. Metheny simply discovered a completely new, unexpected, and bright side of the matter; and that was his (and our) fortune. Now, only after many years, do we witness the "sonic globalizations" and the progressive "disappearances" of labels (jazz-rock, pop, crossover, and so on) that tried to define or delimit increasingly unlabelable fields of action. Today, advanced music incorporates multiple elements with various historical references. It recalls the blues for a second, Coltrane's solos for a minute, or the wonders of Mozart’s suites; but also the DJs who drive us crazy with their turntables; or the rappers who hammer our brains; Metheny, for instance, provided an initial proof of synthesis with "The Way Up." I suppose the viewing of the related DVD is also necessary to understand the depth of expressive level Metheny has managed to reach. We are in the 21st century, and we need proofs like this to understand, at least a little, where music and our lives have arrived. I apologize for the excessive length of my response.

I'm sorry, uxo, but I REALLY don't understand what you're writing. What do you want to say with the long list of musicians who have collaborated over the years with Joe Zawinul? What connection is there with the "matrix" of the Weather Report sound compared to Metheny's sound? What is the purpose of the list of albums that WR had released up to '78? Believe me, I truly can't grasp what you want to convey or help me understand! I'm hopeful for some clarification, because I'm really groping in the dark, believe me :)

I don't know what meaning you give to "abbottonato"; I would like some clarifications; Luigi Viva undoubtedly deserves credit for writing a biography about our subject, which is as if Emilio Fede were to write one about Berlusconi. It is certainly well done, but it is "guilty" of an evident and excessive lack of objectivity on the part of the author. If he also sees some analogy with Zawinul in "San Lorenzo," I take note of it. Personally, I repeat that I see these two compositional styles as quite distant, although perhaps they are sides of the same coin. Let it be clear that these are still entirely personal impressions and judgments. You haven’t "missed the mark," uxo, don’t blame yourself for things you haven’t done, for heaven's sake. I didn’t dislike the review; I just wanted to give a personal perspective on a work that, as you will have understood, is one of the fundamental elements in my (small) musical education. Best wishes for your visit to "Birdland"! By the way: have you heard the recent double live album by Zawinul ("Brown Street") recorded right there with the WDR orchestra? It’s a real gem.

Personally, I consider this work one of Metheny's finest albums. When it was released, one was literally left amazed and captivated by such crystalline, polished, yet deep and sometimes evocative sounds. The band, with Mays, Egan, and Gottlieb, was perfectly suited for a project of a modern, dynamic electric jazz, vibrant and also of great emotional impact. Metheny himself told me in '83 that "San Lorenzo" represented something special for him, like a destination point; later, "Are You Going With Me?" on Offramp or the harmonic brilliance of "First Circle" would also serve as such. Frankly, I have never sensed explicit references to the Weather Report sound, even though "Jaco," which opened side B of the original vinyl, undeniably brings to mind the trio (with Bob Moses) with which Pat, duetting with Pastorius, began his personal career. All of this work oozes talent, uncommon harmonic sense, and great technical skill that would later influence and attract followers in the new jazz scene emerging at the century's end. Metheny attempted to replicate this success with the subsequent "American Garage," which I think had slightly more "commercial" intentions as it winked at audiences across the ocean; nevertheless, it remains an enjoyable album. I recommend "Group" to anyone wanting to delve deeper into the early years of the work by the guitarist from Lee Summit. It could be an excellent starting point.

The Greenslade adventure was beautiful for how long it lasted. It was an unusual attempt, that of the dual keyboardist without a guitar (which, however, did appear at times later on) to strengthen the classical-inspired setup with the promise of pushing a bit "further"; something that, in my opinion, was achieved more completely with "Spyglass Guest," which I consider their best. Of course, this first album of theirs and "Bedside Manners are Extra" are excellent examples of symphonic pop (as it was called back then) where the need to jazz things up often peered through. I inform those interested that 4 or 5 years ago, a worthy live album (from the era, during the period 73/75) was released posthumously, gathering their most successful tracks; in some cases, there are two or three songs that appear twice. They were performed several years apart, and Greenslade did this on purpose to highlight the level of execution maturity the band had reached in these cases. There is also a "Large Afternoon" that must be from 2001. I got it, but I suppose it’s only for "strictly observant" fans. Despite many frowning upon "Pentateuch Of Cosmogony," I find this double work curious, stimulating, and original. Perhaps a bit too much for keyboardists... but a noteworthy effort. Well-written, comprehensive, and pleasant review; perhaps a bit long.

It's always a pleasure, Roby.

Roby86: I strongly suggest that you refrain from commenting on certain "characters" who define themselves by what they are or believe they are from their very first approach. It's literally wasted time. I'm sure you have something better to do. Best regards.