The Key to Success of The Pat Metheny Group
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- เผยแพร่เมื่อ 19 ม.ค. 2024
- In this clip, Pat Metheny talks about his early days touring with the Pat Metheny Group, building a fanbase, and finding success.
Full Interview Here: • The Pat Metheny Interview
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Full Interview Here: th-cam.com/video/QEgalcH_-b4/w-d-xo.htmlsi=MT0TVA1-wzZsfBxA
Future video: The genius of John Renbourn, Bert Jansch and Pentangle.
So,I was a punk rocker In the 70s… and my brother slipped me a pmg record. I was blown away. The man is so amazing. I drove up, alone , to Boston to see him. Bought the cheapest seats I could afford and , surprisingly, the band had to walk past my shite seat to the stage. I braved my introvert nature and said high to pat. He was so nice. He stopped and chatted to me for a second or two. He still looks the same…. Fountain of youth!
Look up Within Heaven's Gates by Rebecca Springer. Page 64 😇
Nice
If Pat looks the same as 50 years ago then sth was wrong
Gary Burton and Pat Metheny helped me open my Honda Car in 1973 in Portland OR at a Summer Jazz Clinic. I was playing lead trumpet in one of the top 3 big bands they put together at University of Portland,. Pat had just been at U of Miami. What a time. Later met Pat though a midi trumpet I co-invented back in the 80's. At great time to be alive!
My son knows….when I pass, they’ll be playing, ‘ San Lorenzo’. ❤ Pat Metheny Group.
1977, my older brother brought me to see you guys at the Gusman Theater in Miami. Haven't stopped playing since.
Thank you, sir.
Hands down, one of my favorite musicians, especially growing up. I bought his Off Ramp record when it first came up and I've enjoyed his music ever since. Bright Size Life and 18 I can listen to all the time. Him and Lyle Mays, (may he rest in peace) made magic.
I saw PMG during their "Secret Story" tour and it was one of the greatest displays of musicianship I have ever seen and if I remember correctly his PARENTS were in the audience rofl. It changed the way I listened and appreciated music and inspired me to start my own journey as a player. ♥ Pat Matheny.
As a young black teenager this was my first ever concert. I was blown away by this. I couldn’t believe I was seeing Lyle Mays play the piano, synths, then pick up the accordion. Like it was so much to take in. And of course Pat, Steve Rodby and the rest. From that time on Pat Metheny concerts were a family tradition.
I remember seeing the PMG on PBS, playing tunes from their first album. I was blown away - there was no distorted guitar, and the music was so pure and musical.
He is playing in Strathmore, Rockville Md this spring..great player
I was into rock at 15 in 1980 or so and bought my first electric guitar and the salesman threw in a Guitar Player magazine with an article on Pat. Just from reading about his approach to music I bought New Chautauqua and have never turned back. I am almost 60 now and have seen him live around 10 times. Once in Tempe Arizona in 1988 or so his sound system was malfunctioning and while it was being fixed, Pat came and sat on the edge of the stage for anyone who wanted to come and meet him. I have my autographed ticket stub in the Still Life Talking album cover. Great guy.
The work ethic speaks by itself. What a treat from Mr. Metheny to share his war stories. Enourmous respect for him ans his bandmates. True musical heroes. A refreshing tale that keeps it real.
Pat Metheny is my hero....thank you!
I feel lucky to have seen PMG in Houston at Rockefeller's in 1979. Such a great band in a fantastic venue. It's a night I'll never forget!
Love you Pat and PMG. RIP Lyle Mays 🙏🏽❤
Thank you so much Rick and Pat for this chat. I absolutely adored the Pat Metheny Group back in the 70's / 80's. They formed the soundtrack for my entire life and for that I am eternally grateful. I ended up playing keyboards as my main personal artistic endeavor, inspired entirely by Lyle Mays (may his musical grace, fill the Cosmos). To this day, the haunting pads, incredible solos and musicianship, the interplay, the inspiration, the virtuosity inspires the deepest parts of my soul. Thank you so much!
Back in 1998 Meadowbrook theater Rochester, Mi a group of friends had tickets to the show. I tagged along and was able to get a walk up front row seat in a packed amphitheater… awesome experience!!
For me, the real secret behind the success of PMG was they always did things their way, took risks, constantly reinvented themselves and weren't afraid of trying out new ideas. They refused to be boxed in in one genre as they always dabbled in a variety of styles to keep their music fresh but still retained their musical identity so you knew straight away it was them
The group looks and sounds like they really enjoy playing.
I'm happy for his success, and that I saw him live in Austin, and I listen to his music often.
Thank you Pat and band for “personal concerts” at Amazing Grace Evanston IL. Friends and I would catch every session they were in town typically an audience of 15 or less. Maybe summer 78 or 79 can’t remember.
I'd love to see you interview "Thijs van Leer" of Dutch Prog Rock band "Focus". He is such an incredible composer, and multi-instrumental musician (vocals, keys, flute, whistling (!)). As a youngster (I'm only 32 years old), my older cousin gave me glimpses of '70s Prock Rock music that I think helped me appreciate the music that I do today, which includes Focus, the first 4 Phil Collins era Genesis records (sorry Peter Gabriel fans), Yes, Jethro Tull, newer bands like Dream Theatre, Symphony X, Frost* etc....
Thank you for the work you do.
I saw Matheny in the lunch room at UIC campus. Just amazing.
He is just around like forever and still looks the same 😮… such a Great work of a lifetime, so much beautiful music… just can’t say thank you enough Pat for all the inspiration
A dedicated, passionate band that wants to get noticed will play at the opening of an envelope. Pat and his bandmates applied this principle religiously. And boy, has it ever paid off! I've seen Pat's concerts more by far than any other single performer. And I'm not done going to his shows yet!
His music takes me to another dimension.
I already had major respect for Pat Metheny. His stories of the group early on is so inspiring.
Always loved the Methany grouo. He's very articulate and a good interview. RIP Lyle. Beato brings out the best of his guests in their interviews.
It helps that he's an excellent musician himself.
I used to get my Dodge serviced at his dad's dealership. His grandpa worked where I went to school. One of my teachers there turned me on to him. I am forever grateful.
Just got home from seeing Al Di Meola put on a great show. He was reading music throughout most of the evening. I think because he played mostly electric stuff from his early albums. He played the Les Paul that he said he last played on "Elegant Gypsy".
It might be partly a matter of how much a person can remember. Plus, it seems as if at times Al doesn't improvise his solos, while Pat does. Pat is a Jazz musician, while Al does what he does. I am a fan of both.
AMAZING, AMAZING, AMAZING. What a video. To hear these words about how they built things up by Pat himself, is a profound lesson. What an eye opener, wake up call for anyone who wants to be a decent musician these days.
I saw the group on the First Circle tour first, and after their (always) LONG set, I thought, "they can pull that off every night?!" 💪🏻😮
By far, my favorite guitar player. And Zappa of course
I still listen to American Garage almost daily, timeless virtuoso work!
Pat & Lyle were always "the two drivers" in that band 💓💓💓
A jazz legend like few others.
He definitely did a lot of gigs. I remember seeing the original PMG at American University in 1978. There were nine people at the Ward Circle Building in the audience. They absolutely kicked ass! I had just heard the first PMG album about a month prior and was instantly a fan.
When music charts for a large orchestra first started being written, it was assumed that no one could memorize their parts, and still today that is the case. But what if we had a large orchestra that had every member with memorized parts, how much BETTER (sounding) that would be! Maybe that is the next step, large virtuoso orchestras which operate like virtuoso bands of the recent past.
There IS an orchestra like that. And they have no conductor. It is a collective. They listen to each other as they play and it IS more musical. …now if I could only remember their name…
“Last old guy” for sure.
The old guys thought it was rude to imitate another player.
The old guys didn’t use sheet music on a gig.
The old guys created their own genre.
The old guys worked really hard, what we now would call “extreme devotion” to them was Tuesday - a requirement for just doing a thing.
The old guys played for their friends not their parents.
Is he criticizing Chuck Mangione with that last comment?
I really love how Pat references the Blues Brothers “we’re in a mission from God”
Ja man!!❤ thats why we all kept on hanging on your lips!!!!!!! Respect for evver✨✨✨
Rick - awesome interviews.
Can you get Billy Squier??
I'm going to quote another movie quote back at Pat. "What a guy!" ;) I got into PMG not just because of the guitar and music but because of his relentless dedication to "the cause". The full interview is brilliant but these snippets are a great idea too. Break down 2 hours plus into manageable chunks. You can't do that with Pat's music ;)
😊...apparently this was the story I drifted off right after before I could comment. I was a good sleep which is rare, which means I probably had a dream section. On the road. Feels like home.
Can someone explain a bit about what they think Pat meant by "something happened in 1980, we all know what it is"
I have the same question
I'm not sure either. Is he talking a specific event? Some of the other comments seem think he's referring to the popularity of people like Wynton Marsalis, playing more traditional material - playing for their parents. Makes sense, but I'd like know for sure what he meant.
I think he was referring to "smooth jazz".
Could be. When he talked about making music for your parents, that's what made me think he was talking about Jazz traditionalists/purists. But I'm far from certain.
I remembered seeing Pat in the JCC in KC.....1977 awesome then saw him sit in with a trio at a steak house in KC then helping an Israeli restaurant owner during the suicide bombings of the late 80's
My takeaway was here's a guy who loves humanity and is a mensch
What he said about building a music career spot on. Work and keep working. The only problem now they still want to try and pay 150 lol. Feel for the new guys trying to keep a band together. It is one of the hardest things to do in the world, really.lol👍🏿👍🏿✌🏿
Very impressive head of hair for 69 years old
Pat is such a cool and hardworking guy. No excuses, just get out there and work. He looks like surfer dudes I went to high school with. This is pretty amazing because he is 69 years old and looks great. A bit like John McLaughlin who also does not age. The two of them are among the best guitar players ever. Pat and John are amazing.
People don't realize that his sound mostly comes from the Toothbrush 😂
😁
I wish I would have seen the original PMG. I caught on to his music early on but didn't get to see them live until after Mark Egan and Danny Gottlieb were gone. Still really good though.
I know that Pat is a great musician. I personally love unfortunstelly only two albums. Beyond the Missouri sky wich basically is a Charlie Haden album and one quiet night the one that he plays the baritone acoustic. These 2 albums are right beside to Django Reinhardt and Joe Pass work. Definetelly a music giant...that had and still has something to say. Modern guitarists have nothing to say, they just say it in an impressive way.
Watching this, I was surprised that Pat seemed unwilling or unable to answer that question at the 5 minute mark, but from comments below I guess he did: jazz bands changed c.1980 by treating music more like a canon than a band thing, if I understood right. However, maybe it was always rare for jazz musicians to stick with a particular band by choice rather than contract (I understand big band members were often under contract). The idea of a "group" certainly was rare & even with the Metheny Group the lineup changed after only 2 records. But they continued to write their own tunes. I guess that's a thing because the pop bands, Beatles/Dylan/whatever, all became known as a "group" thing by writing their own material. Pop stars before then, Elvis, Sinatra back to whatever did not. Part of the reason for that is evidently that to record a song it has to be copyrighted and people were not able to publish/copyright their own songs easily prior to 1960. So to write a song was almost a guarantee not to be able to record it & so people didn't. Dylan said something about that once & how it made him extraordinarily lucky to be able to become a new & noted songwriter at the outset of his career purely because of the time & place. He was the first recording artist to be able to record his own songs and he got attention because that made him unique (before everyone started doing it). Another curious thing is that when Chick Corea decided he wanted to start writing his own tunes he felt he had to form a "group" to do it (RtF).
Duke Ellington and Benny Goodman's bands definitely had sheet music in front of them at gigs without it denting their popularity much.... Less the case with the small bands I guess...
I saw a 20 year old or so black girl playing guitar on her channel. I wrote, ‘Pat Metheny’ or ‘you sound just like Pat Metheny’ because she did.
The best advice anyone could give - though I won't take up Pat Metheny on the no booze advice haha!
Shout out to the TOOTHBRUSH!
Hammersmith Odeon, ticket GBP 10, year 1990
What happened in 1980??
Nice
That's interesting about the parents, but it isn't universally that way--perhaps in the rock n roll period though--which is the period of jazz that Pat came up in. Classical is a whole different kettle of course.
This subject, of the Metheny vs. Marsalis mindsets about jazz is more complex than seems. Pat didn’t want "to play for his parents" (their generation, metaphorically). Wynton's parents were OF THE generation that Pat admired. Fusion jazz versus Jazz.
Yes and no. Jazz was always fusion, fusing a jazz approach, to the music of the day. “Jazz Fusion” as a style was not really jazz. It was experimental, not particularly complex, and more. Pat’s music was fresh, culturally relevant, complex, and carried forward a jazz aesthetic. Wynton was polishing up a previous genre, and doing that really really well.
@@davidfleuchaus We probably agree that Jazz was actually more than an approach. And also yes, that Fusion was not Jazz. I love much of Pat Metheny’s music with, agreed, that Jazz aesthetic. (It's ironic, I always thought that Jaco played the bass like a guitar and that Pat played the guitar like a trumpet, his brother’s instrument). The Beatles didn't use charts because they did 3 min songs. Not 15 min pieces. But to imply, as many others than Pat do, that as of 1980 it's on Wynton Marsalis, lacks receptiveness to what he actually did and continues to do: codify something more fixed and knowable than just a previous genre. To borrow a quote from another context, _Jazz is like Honesty. And people f#@ hate Honesty_.
@@josephm.benoit9202 I’m going to back away from my previous approach and go exploring. So, first, I think it helps to simply list the many historical styles that have been called jazz, in its most traditional, we-can-all-agree-on-that, definition: Ragtime (possibly), Dixieland/New Orleans, Swing/Big Band, Gypsy, Bebop, Cool, Hard Bop, Bossa Nova, and more. Or by groups and sub-genres: Oregon, Organ Trios, West Coast, etc. When I overlay cultural eras and popular music eras under all that it is clear to me that the people oriented to making jazz are oriented to create with a certain set of values inclusive of improv, complex rhythms and complex, or exotic, harmonies, in a way that responds to the popular music of its day along with a high value placed on freedom to create along with high degrees of musical ability.
Having said all that, I can really understand that importance of codifying certain eras of jazz. But the codifiers of particular eras really should not overstate the importance of their work nor malign the efforts of the other musicians in their time to utilize the same impulses and values employed by the heroes of their particular preferred genre of jazz.
@@davidfleuchaus Points taken. Thank you.
Look up Within Heaven's Gates by Rebecca Springer. Page 64 😇
👂 💚
"chorus"
6:24 What happened in 1980 that we all know what it was? People started playing for their parents instead of their peers? Huh?
What happened in 1980?
He's referring to Wynton Marsalis... Marsalis was an up and coming student at Julliard and was very outspoken in his disdain for electronic music and electric jazz. Marsalis wore suits and had music stands and played music for his parents generation. Miles Davis actually criticized Marsalis for "taking jazz backwards ".
My take on Wynton's influence, (and similarly, Marcus Roberts', et al) is different from Pat's opinion. It sounds like Pat is saying that Wynton's sound was a stagnating or regressive force. Sure, Wynton, et al, insisted on traditional instrumentation, clear recognition of the origins of jazz, as well as tighter ties to older forms of jazz. But I think they absolutely took bebop and what I learned was called "straight up" jazz to new places, just differently than Pat (or Chick, or Joe).
@@maraorem3347 It wasn't just Pat. Wynton has always been pretty controversial in the Jazz world. He was considered by many to be pompous and arrogant. Wynton got a lot of attention and was very vocal about what he considered to be jazz and what he didn't consider to be jazz...So who made him captain of the jazz police?
@@frankmarsh1159 Oh, yes, I think you're so right. It wasn't just Pat, and Wynton said a lot of things that sounded to me self righteous and pretentious. As to who made him that jazz police, I agree also that not much good comes from authoritarianism about any art form. Wynton got a lot of attention for his obnoxious statements and also because IMHO he was a Mozart-like prodigy, both on the trumpet and also a composer and historian. So yes, I totally agree with what you said and I wonder if you think that made his music a regressive force in jazz.
@@frankmarsh1159
Thank you! I did not put that together. Makes sense.
The hair…definitely the hair was key
No, 'that WE could do'.
So, the hair is real? He should have his own hair care products.
Hey Rick great interview. But it's all getting a bit American centric.
How about giving great Australian and Kiwi bands some recognition?
We as two music loving countries gave many of your artists and bands their first break or put them on the map.
Its just we have a thing with bullshit and smoozing and refuse to play the game.
The Angels
Midnight Oil
Hunters and Collectors
Dragon
Split Enz.
To name a few.
All refused to play the A and R corporate game.
Peace Monkeys
I became a Methhead because of Jojo.
I hate how unreasonable the music culture is for anyone starting in poverty
Having that much hair at that age, sigh. I need a new drug!
Hats off to him as a person.....but I never "got" the allure of his playing. Sorry.
Pat Metheny mentioned "God" 😲
For those who don’t know, “on a mission from God” is a movie reference from the movie The Blues Brothers meant to describe their level of devotion to their work.
Joe Dirt
And I was kidnapped and held captive by a deranged hair stylist who had a fetish for blow dryers.
Isn’t this the guy who blasted Kenny G? A fellow musician? Screw him. I’m sorry I clicked on the video.
Pat needs a haircut
September 15th