Bookmark and Share

Community (American Garage)

Subject View

SUBJECT: Pat’s counterpoint Back to Subjects
Oct 13 2017
at 9:06 PM
Pat sometimes does incredible work in counterpoint, if that’s the correct term for what I’m thinking about. For instance, near the end of "Third Wind," the tune’s dominate theme is restated and Pat plays amazing synth over the top of and against it, so to speak. There’s a similar impulse on "Red Sky" from We Live Here, where he plays more amazing synth guitar over a groove that could, for me, go on interminably; I dig it so much. Any one else have other good examples of some of their favorite moments of Metheny counterpoint?
Login to Post
From: Message:
Oct 23 2017
at 8:39 PM
Bookmark and Share Thanks for directing my ears back to "It’s for You," marshall. Hadn’t heard that outro you mentioned in a long time. Don’t you just love "Ozark" as well? I read somewhere that Pat said Lyle’s solo on that piece is one of his favorites. An amazing tune. As an aside, after seeing Pat twenty times or so, he and Lyle finally did "September Fifteenth" live. Very emotional for me, having wanted to hear them do it in concert for several decades.
Oct 22 2017
at 11:51 AM
Bookmark and Share The solo at the end of "It’s for You" has the same attributes you mention--it’s kind of less of a solo and more of an outro/solo.
Oct 19 2017
at 3:42 PM
Bookmark and Share I love this observation! Makes me think of the many versions of Coltrane’s I WANT TO TALK ABOUT YOU.
Oct 19 2017
at 6:25 AM
Bookmark and Share I thought a little more about my initial post and realize that what I’m calling "counterpoint" in the examples I gave, another listener might simply say, "Isn’t that just improvised soloing over an established theme"? Yeah, I suppose one could see it that way. I guess there are numerous counterpointings throughout Pat’s music. -- Yo patsfan: Seeing how Reich’s composition for Pat is called "Electric Counterpoint," you might say it has a wee bit of that musical process. I love that Reichian thing myself. TWU is pretty much built around that impulse, as is "Finding and Believing," one of my favorite cuts from SS. -- franksexton: As far as looping goes that you mentioned, I don’t see it. But then what do I know? -- An aside: Rodby’s bass on WLH is superb!
Oct 17 2017
at 9:42 AM
Bookmark and Share I have noticed that in some of his synth solos also. I wonder if he has something like a loop that plays back something he has previously played so which he then plays against. I think you can hear this in Q&A from Trio Live.
Oct 16 2017
at 11:13 PM
Bookmark and Share Hi Naut. ... just tuned in to see your ’counterpoint’ post. To me it brought back the albums with Steve Reich, which personally I strived to appreciate but really couldn’t dig it. Too very very very very repetitive . Your take on counterpoint seems to be the opposite, which in essence why I like Pat’s compositions from day one. Take any album, Imaginary Day, We Live Here, etc etc. Oh, the synth, I look forward to it. !!!!
Login to Post