PAT METHENY GROUP: THE WAY UP

Really, I can understand all the fuss about this album. I mean, is all about ambition, is not it? The crowning achievement of a long career, over thirty years as one of the best jazz guitarists of our times. And then, in 2005, Pat Metheny decided to make this magnificent work, which mixes fusion, soft jazz, and many scholarly influences of progressive rock, all in one song of 68 minutes.

Yes, reader. 68 minutes. Ah, but do not worry, it is subdivided into four sections (like a true epic prog or a symphony) ... whose durations are respectively: 5, 26, 20 and 15 minutes. So in the end the music is great anyway. But, unlike other epics that feel just like a bunch of individual songs without a connection "real" (see The Incident), here's a real flow between the sections, so that the feeling of being up listening to a single song is not lost when going from one section to another. This is one of the greatest triumphs of pat on the Way Up.

But that's not all. All interaction between the musicians ... This is beyond my comprehension. There is no one in the background. Unlike typical guitarists exhibitionists who take the glory for himself, Pat Metheny really gives space to each of his companions to have their moment. There harmonica solos, trumpet, guitar, piano, drums ... Like I said, no musicians in the background (this musical construction reminds me of Steve Hackett, who always took a similar stance in his albums, allowing space other musicians).

And do not think the executors of The Way Up are disqualified, oh no! These are brilliant, masters at what they do. Starting by the Pat Metheny. As he plays a variety of guitars, one realizes how much is diverse. But no deadly riffs (which is not even a feature of jazz): everything runs so brilliantly sweated and melodious. Carefully he gets quieter passages (which are where members have the opportunity to shine in their respective moments) sections with more bombastic, and even they do not have anything explosive. Soft jazz, after all! I must also mention the work of keyboardist Lyle Mays, and contributing much to the overall sound of the album. There are some passages of piano here that make me shiver. Also Steve Rodsby, which alternates between the low (I admire his moment with the fretless bass) and cello. There are several other musicians to mention here, but I must mention the drummer Antonio Sanchez. He does the typical work that I so admire in jazz, the ability to go beyond the simple compass to explore sounds innovative and highly complicated, the kind of thing you simply can not learn, that comes from within your soul. Although he does a moderate job and nothing bombastic, convenient to the sound of the album is truly a highlight.

4.5 stars, rounded up. A wonderful work, beautiful to hear, able to emerge and cause sensations such deep impressions as positive. He represents everything I love about jazz and was looking to enjoy; effort and cohesive integration between the musicians, the ability to challenge and go beyond the commonplace, explore new sounds, new possibilities. Congratulations to Pat Metheny and his band mates to achieve such glory.

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