Ra-Kalam Bob Moses- One of the greatest, and most underrated, Drummers and composers ever. So honored that I know him and studied with him long ago when he was in New York
I Agree I used to hear him when I was at Berklee... I thought he was underrated then! Right up there with Elvin ( for sure) Philly, all those guy and maybe has an edge on uniqueness and creativity. Let's hear more from him!
@@joediamo4322 was he ever teaching at Berklee, or just playing in the Boston area generally? I know he taught for a long time at New England Conservatory.
@@majmx Pat is one in a billion. He might occasionally default to one of his signature licks here and there, but you will not find more lyrical and expressive polyphonic phrasing than at 3:52 until the end of his solo, particularly from 4:19 to 4:34
@@marco.conde_ He is not. There are many better guitar players than him. The "poliphony" you menytion is very simple. He is not playing in terms of notes but in terms of chord. A true and good jazz guitarist achieves polyphony not by simultaneously playing the same note shifted by a certain interval, but by playing different - usually two - melodic lines, just as on the piano the left hand plays a different melodic line than the right hand (i.e. th-cam.com/video/fppTcMJzaqw/w-d-xo.html). Pat can't do that. What you call polyphony is a very simple playing that can be performed by a reasonably intelligent guitarist, not necessarily a virtuoso. I would even say that most guitarists start playing chords using this kind of simple polyphony. I repeat her my opinion published elsewhere (exchange of opinions with my friend, who is a professional classic-music pianist, but he can also play jazz; he has played piano concertos with different symphony orchestras): Pat is a guitarist who uses learned sequences of notes. He cannot or avoids playing with the fingers of his right hand. Unable or avoids using the thumb and other three fingers. He uses the thumb of his left hand to press the lowest string (E), which is usually considered a lack of technique, and yet his playing is not polyphonic. I mean, he doesn't play like a real jazz player. There were many times when he played with real jazz musicians that he seemed lost. A much better musician was the pianist with whom he played for a long time. Pat became very popular and I guess he was a bit lucky. Several famous guitarists spoke highly of him and then he started playing music that sold well, but it was no longer jazz. In fact, it happens that during a large part of the concerts there is something playing and accompaniment, but little of it is heard and more is visible. He can't do real jazz accompaniment. It's hard to convince someone who likes one soup that they should like another one. Pat is actually strangely excluded from criticism. I only heard a few of his good solos, but I can't say whether they were too learned. Pat plays on people's emotions. He builds solos so that they climb to high registers, where he often repeats the same motifs in different rhythms and suddenly comes out of them with some just-learned passage. He makes a lot of faces and suggests with his body that he is very involved in it. The material itself is usually very simple. What seems complicated is a combination of riffs that are moved chromatically so that the ear can't keep up and seem to be something very complex. Some things sound good but seem kind of synthetic. It often sounds like that. Every semitone up or down. The chromatic scale is a semitone scale. You can also move different sequences along the steps of different scales. Classical jazz eschewed chromaticism. The most frequently used scales (in jazz) were pentatonic scales and modal scales, or semitone - whole tone. But not in long sequences.
At the beginning of the video appears "PLAY" "PLAY" "PLAY" and seems to follow the rhythm of the tune. Even the camera understands how great they PLAY!
It was a great period, jazz was resurging again after being heavily hit by rock n roll. The Marsalis brothers, Metheny, Brecker (and Steps), James Blood Ulmer, Garbarek, Paul Motion's 5tet, the list is endless, great era (musically).
0:12 Pat hit Db7 that should've been Fm intro, then Steve suddenly looked at Pat. Funny thing is that whoever shows body movement or facial expression change, it means like admitting mistakes.
Wow, I didn't realize Moses played with Pat after Bright Size live, this is great! I love the trio.
Ra-Kalam Bob Moses- One of the greatest, and most underrated, Drummers and composers ever. So honored that I know him and studied with him long ago when he was in New York
I Agree I used to hear him when I was at Berklee... I thought he was underrated then! Right up there with Elvin ( for sure) Philly, all those guy and maybe has an edge on uniqueness and creativity. Let's hear more from him!
@@joediamo4322 was he ever teaching at Berklee, or just playing in the Boston area generally? I know he taught for a long time at New England Conservatory.
@@rhythmfield funny I just wanted to ask who is the drummer? Ha ha thanks
He did teach for a long time at NEC (maybe still does?) and still lives in the Boston area.
I think this is the best phrasing I ever heard on canteloupe Island by Herbie Hancock. Pat Metheny is so great.
Pat is a good guitar player but not extraordinary. His playing is schematic and repetitive. Greetings.
@@majmx Pat is one in a billion. He might occasionally default to one of his signature licks here and there, but you will not find more lyrical and expressive polyphonic phrasing than at 3:52 until the end of his solo, particularly from 4:19 to 4:34
@@marco.conde_ He is not. There are many better guitar players than him. The "poliphony" you menytion is very simple. He is not playing in terms of notes but in terms of chord. A true and good jazz guitarist achieves polyphony not by simultaneously playing the same note shifted by a certain interval, but by playing different - usually two - melodic lines, just as on the piano the left hand plays a different melodic line than the right hand (i.e. th-cam.com/video/fppTcMJzaqw/w-d-xo.html). Pat can't do that. What you call polyphony is a very simple playing that can be performed by a reasonably intelligent guitarist, not necessarily a virtuoso. I would even say that most guitarists start playing chords using this kind of simple polyphony.
I repeat her my opinion published elsewhere (exchange of opinions with my friend, who is a professional classic-music pianist, but he can also play jazz; he has played piano concertos with different symphony orchestras):
Pat is a guitarist who uses learned sequences of notes.
He cannot or avoids playing with the fingers of his right hand. Unable or avoids using the thumb and other three fingers. He uses the thumb of his left hand to press the lowest string (E), which is usually considered a lack of technique, and yet his playing is not polyphonic. I mean, he doesn't play like a real jazz player. There were many times when he played with real jazz musicians that he seemed lost. A much better musician was the pianist with whom he played for a long time.
Pat became very popular and I guess he was a bit lucky. Several famous guitarists spoke highly of him and then he started playing music that sold well, but it was no longer jazz.
In fact, it happens that during a large part of the concerts there is something playing and accompaniment, but little of it is heard and more is visible. He can't do real jazz accompaniment.
It's hard to convince someone who likes one soup that they should like another one. Pat is actually strangely excluded from criticism.
I only heard a few of his good solos, but I can't say whether they were too learned.
Pat plays on people's emotions. He builds solos so that they climb to high registers, where he often repeats the same motifs in different rhythms and suddenly comes out of them with some just-learned passage. He makes a lot of faces and suggests with his body that he is very involved in it. The material itself is usually very simple.
What seems complicated is a combination of riffs that are moved chromatically so that the ear can't keep up and seem to be something very complex. Some things sound good but seem kind of synthetic. It often sounds like that. Every semitone up or down.
The chromatic scale is a semitone scale.
You can also move different sequences along the steps of different scales.
Classical jazz eschewed chromaticism. The most frequently used scales (in jazz) were pentatonic scales and modal scales, or semitone - whole tone. But not in long sequences.
Pat's time feel is 4.5 billion years old
This is the greatest comment in the entire history of all TH-cam videos
It precedes the universe as we know it.
Lol the wrong change of Steve Swallow at the beginning. Nice Video, ty for this. What a guitar player !
At the beginning of the video appears "PLAY" "PLAY" "PLAY" and seems to follow the rhythm of the tune. Even the camera understands how great they PLAY!
Amazing - no vocal would be able to replace this guitar sound. Pat Metheny the greatest of all guitarist
and I love 80s sensibilities happening here too..
It was a great period, jazz was resurging again after being heavily hit by rock n roll. The Marsalis brothers, Metheny, Brecker (and Steps), James Blood Ulmer, Garbarek, Paul Motion's 5tet, the list is endless, great era (musically).
0:12 Pat hit Db7 that should've been Fm intro, then Steve suddenly looked at Pat. Funny thing is that whoever shows body movement or facial expression change, it means like admitting mistakes.
Swallow hit the Db
i dig when metheny plays his roland just as a guitar. it's got higher frequencies than his archtops. nice change.
love this meteney version song!!
Love the 80's details.
you are right man. These two are just great, who cares about a mistake, it was in rythm. peace !
Show..maravilha do século
👏🏻👏🏻👏🏻👏🏻💯
Excelente!!!!!!
So good
HD PLEASE.
Coooool 👍👍👍
what a solo
Dat bass face 4:53
EL "Error" fue de Pat, se adelanto, el bajista venia bien me parece. Igualmente aqui no hay ningun error son unos genios!
non, c'est Steve qui oublie l'intro...
1:42