Pat Metheny
80/81

The groove of the horns is yet another creative necessity for Pat, who does not intend to stop after the great success of "American Garage" and seeks new sound emotions. The album "80/81" seems a bit homemade, with old friends like Charlie Haden or Jack DeJohnette and old acquaintances Dewey Redman (tenor sax) and Mike Brecker (tenor sax 2), recorded in just a few days. In fact, some parts of the album are a tribute to master Ornette Coleman.

CD one

The first track "Two Folk Songs" lasts 20 minutes, and is divided into two parts, the first composed by Pat, the second by Haden. Although the initial sound is soft and melodic, it gradually distances itself from the fusion mood and becomes wild free jazz-country-folk. Complex sounds of which the quintet is proud, as an expression of unlimited musical freedom. The intense solo by DeJohnette (drums) deserves to be highlighted. The tones drop in the final part, more acoustic and accentuated.
"80/81" is exquisite. The intro recalls an imprinting to Coleman, as does the development of the theme. Disciples Haden and Redamn are excellent interpreters. A tough piece full of expressiveness.
Unforgettable and unbearably sad is the reinterpretation of "The Bat" in a double-sax version, where the meeting of sounds becomes even more poignant. Pat's central acoustic part is very technical. This is followed by Haden with a touching solo. The Gibson-sax meeting is of astonishing depth. The track will end as the closing track on the experimental "Offramp".
"Turnaround" is the true homage to Ornette Coleman (the piece is his). Haden opens, deep, to introduce a freewheeling Pat in great form. Ranging into jazz-blues with a not very aggressive rhythm, but with the great execution speed of the close-knit trio. A final liberatory scream.

CD two.

Hysterical and delirious. It’s Pat Metheny's folk. A 15-minute movement, almost without respite, with the frenzied support of Jack DeJohnette. Distorted sounds and lively improvisation characterize "Open." The free Jazz of the saxophones of Redman and Brecker also rages, with a splendid solo by Haden in the central part. It is a dark path made of occult and acoustic sounds that hover in the air, suffocating the breath of stunned spectators, in a collective crescendo of expressive madness where one's own technical exuberance is experimented with, in a jolt of emotions where the artists find and intertwine with each other, playing like dancing insects.
Composed by Pat "Pretty Scattered" is pure jazz poetry, with the Brecker-Redman duo undoubtedly showing their best. Aligned, overlapping, perfect. Then space for the trio, the horns rest. Pat expresses himself at the highest levels of concentration and quality. His sound is formal, didactic, but unrestrained, ranging in speed and multicolors. Followed by high-level alternate improvisation of the sax duo.
For those needing tranquility, proceed to piece three; a poignant melody composed by Metheny and interpreted with unforgettable pathos by the great Brecker. "Every Day" is magical, soft, enveloping like a warm, melancholic blanket of memories, where you will find a very refined orchestration and a varied and intense rhythmic structure. The central part is left to electronic fusion sounds, which slightly break the initial theme: Pat accompanies Brecker's magic both with electric (Gibson) and acoustic (Guild).
"Goin' Ahead" is a solo acoustic piece. The intimate atmosphere of this ballad is outlined by the whistle of Pat’s fingers sliding over the strings.

The technical level of the album is excellent. A double album that denotes the strength of the "artistic freedom" that characterizes and will characterize the guitarist from Missouri. Listening to it multiple times will gift ever greater emotions. Truly excellent.