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Recently, I've spent most of time listening to albums with lyrics. Whether it's the Pixies, John Hartford, or Ween, most of the time I need to be singing. Well, now I find myself humming melodies, while making that "Bop bop bop" sound with my mouth. The reason: Speaking of Now, the latest album by Pat Metheny.
From the moment I put this disc into the tray of my disc changer, it has not come out. Even when randomized amongst the other discs, it just fits. That's what I'm finding out about this disc; no matter what, when, or where, it just fits. Unlike so many jazz albums, and I use the word jazz loosely here, it has a definite purpose. It is uplifting, and fun, which is something many albums without lyrics lack.
If you want to capture someone's attention, you need to start the album off right, and cut 1, "As It Is" is right on the money. Pat's not only Speaking of Now, but he's speaking to you! The opening track sets up not only the song itself, but seems like it's the basis for the entire album. Many jambands, and pardon me if you think I am referring to Metheny's band as a jamband, because I'm not, do a great job of setting up a final jam, or moment. "As it Is" has that same vibe, which does not seem to be that common amongst jazz musicians like Metheny, Bill Frisell, Pat Martino, and others. This is probably the reason I enjoy it so much.
You find vocals on a few of the tracks, which for me is the main reason that this album differs from past Metheny albums. Percussionist Richard Bona and Trumpeter Cuong Vu are trying to impart a certain vibe with the vocals. They add an almost pop-like feeling which I haven't heard in previous Metheny works, or for that matter, in most jazz albums (although I've heard Mike Stern has taken a similar approach on his latest). The music seems to play around the vocals, creating a focal point for those tunes.
Before I venture off and break down every song (which I won't do), I must read this disclaimer: All the players on this album are flat out brilliant! Aside from Metheny, who again proves himself as not just THE most incredible guitarist, but an equally talented song writer, the whole band is dominant. the playing of Lyle Mays, especially on track 5, "You," moves me from listening to an album in my room to feeling as if I were in a concert hall in Spain! I find it hard to compare pianists styles, whether it be stride, bop, pop, whatever. On this album, the keys and piano playing are uplifting, and clear. Often when there is so much music going on, it is hard to really distinguish the piano, but that is not the case here. When accompanying Metheny's playing, it's subtle and distinguished, and when soloing it's just beautiful. The same goes for Cuong Vu's trumpet playing. When used as accompaniment, it's an intrical part of the greater sound, but when soloing on track 7, "A Place in the World," it's calling out to you.
Of course, the drums and percussion are incredible as well, especially on track 6, "On Her Way," which is currently winning the race for song of the year! I will be billing the band for head injuries due to the fact that I smacked my head into a lamp post while rocking out to that tune. Again, the use of vocals is just stunning. Who needs words when you can you just bop-out? Keep sharp objects away, and your friends near when listening to this because their smiles will elevate you with the music. All I hear right now is "GET IT ON!" and I know that's not what they're saying, but clearly, they are getting it on!
Like this review, the album is everywhere and in the same place at the same time. It has it's standard jazz elements, its incredible uplifting jams, pop-like vocals, intense harmonies. It's one of the better jazz albums I've heard in years. I can't deny the truth. Metheny is a step ahead of the game on this one. His playing, whether it be acoustic, electric, or synth, is phenomenal.
This album gives you what you hope for, and so, so, much more. Metheny's playing crosses all boundaries. No guitarist, not even John McLaughlin, plays as effortlessly. Even when he's moving at incomprehensible speeds, he still finds a way to make every note digestable. There's no excess playing; it's always just enough.
If you are not a fan of Metheny, buy this album, and you will understand why guitarists like Trey Anastasio grew up going to a seem him as often I go see Phish. This album surpasses last years's Grammy Winners Bela Fleck, Kenny Barron, Branford Marsalis, and Metheny's own Go Get It. I have a feeling the band may want to bring their brooms to the awards ceremony, because if the people are talking, they will surely be Speaking of Now.
by David Weintraub
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