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Originally Posted by Average Joe
Focus on what you love and dive deep. Ignore the rest.
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09-13-2019 07:40 AM
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Originally Posted by djg
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Must have been hot that night, lol.
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Who among us, who's old enough, didn't do things in the '80s they are not proud of today?
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I know. Let's start a thread on every player that we "can't get into". (kidding of course)
Seems kind of counter productive, but in this case actually garnered more praise than the opposite...
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Originally Posted by lawson-stone
Uh yeah. I should have said African American.
In other words, it's really culture. OTOH - if we're honest we recognize that race is a big part of it. The whole world likes African American music, it's unique. It's not just African, and it's not just American. An analogy would be the uniqueness of different Latin styles (Brazilian, Afro-Cuban, Mexican, Argentinian), and for that matter, Euro styles. Culture, race, geography, heritage, all play an important part of the art.
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Originally Posted by Jazzstdnt
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Originally Posted by lawson-stone
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Originally Posted by ronjazz
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Originally Posted by Flat
Either that, or he was trying to pull a few groupies and Lyle's hair wasn't helping their cause.
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Call me shallow, and I'm ok with that, but he should've cut that hair and ditched the Charlie Brown shirts 30-35 years ago.
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Originally Posted by Lark
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Originally Posted by fep
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Originally Posted by Jazzstdnt
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The first time I saw Pat was in Boston 1973, I think he was about 19 years old at the time. Gig was in a church cellar somewhere in Allston. He was in a trio with Bob Moses and a vibes player (not Gary Burton). I was totally blown away. I saw him several times in Boston (sometimes on the elevator at Berklee) in different configurations. Duet with Mick Goodrich, Ralph Towner, trio with Jaco, quartet with Gary Burton, then over the years with the PMG and on and on. His evolution over the years has been incredible. But I think my favorite is just Pat and an acoustic guitar. His sense of harmony and moving lines between chords is amazing. I've met him several times. Memorable one was at the airport in Rome. He's not always a personable guy and like all of us probably has good days and bad days. He is an incredible musician.
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Originally Posted by Lark
I've seen PMG several times in concert. Most recently, I saw Pat on the opening night of his latest tour. He was playing in a trio, in a small converted church in upstate NY. If it tells you anything about how approachable his music is, my sister (who is not a jazz fan) mentioned that she recognized several of his original tunes that they played.
At times, I think most musicians (myself included) come across as being pretentious - (although music is my life's passion, I don't take myself seriously at all as a musician). I've come to accept that as part of the "shtick," or routine. Given his history as an educator, and as a performer (and including all of the notable musicians he has performed/composed/recorded with), his demeanor may be an acquired air.
Regardless, he has left his mark on millions of people over the years (as has Kenny Gorelick).
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Yeah, the notorious lesson tape- check it out:
The soloing from around 1 minute in through to about 5.30 shows a side to Pat I've not yet heard on any of his recordings (feel free to point me in the right direction). Infact it seems so different than what I expect from PM that I was originally confused and thought that the student was the one soloing!
Of course it's the student that is comping rather poorly for poor Mr PM, who still manages to come up with all these beautiful minor blues lines that I must get around to transcribing one day. Oh, and despite the appalling cassette recording quality, it's still the best tone I'e heard heard from Pat as well!
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In the Jaco biography I read, they said that when they recorded Bright Size Life, Metheny wanted Charlie Haden (IIRC) on double bass and was talked into using Jaco instead at the last minute. Wow. Pays to be lucky.
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Originally Posted by princeplanet
I've heard him for decades. Never dug his gig that much. For one thing, he seems to be having entirely too much fun for my liking :-)
I mean... clearly he's a great musician and a wonderful guitarist. To me he seems like a really good player. Can't fault him for his success though. He wouldn't be where he is if he only played what I like to listen to.
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Originally Posted by princeplanet
I can’t remember where I read this, but I understand he deliberately changed his style to be less chromatic and boppy for his own compositions.
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Also note how rock-solid his time is. Not affected in the slightest by the awkward comping of the other guy.
Whether or not you like PM, I would love to have time as good as that.
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Originally Posted by FatPick
cheers!
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Originally Posted by FatPick
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But I have to say: I am really happy for Jaco he is on Bright Size Life. What those three did there is part of the jazz history now. I am not sure with double bass and Haden would be such a unique milestone.
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PM is almost always accessible, I've enjoyed his work, i especially was impressed with his X release with Ornette and Haynes... knocked my left sock off. Previous to that, Anthony Braxton's Orchestra of Birds knocked my right sock off.
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Originally Posted by geogio
Lucy’s Jazz Guitar Gretsch G5420 an Projects
Today, 08:13 PM in Guitar, Amps & Gizmos