Pat Metheny: "Tap:John Zorn's Book of Angels, volume 20"

[CJ Shearn]

Out May 21st. I'm in

Nonesuch Records and Tzadik simultaneously release guitarist Pat Metheny’s recording of John Zorn’s Tap: The Book of Angels, Vol. 20 from Zorn’s Masada Book Two on May 21, 2013. This album is the first collaboration between the two artists, considered among their generation’s most innovative musicians. Besides his frequent collaborator, drummer Antonio Sanchez, Metheny plays all other instruments—guitars, sitar, tiples, bass, keyboards, orchestrionics, electronics, bandoneón, percussion, flugelhorn, and more—himself.

Beginning in the 1990s, Zorn wrote 500 songs inspired by traditional Jewish music; they came to be known as two volumes of the Masada Book. He performed the first 200 songs of Book One with the rotating members of the Masada ensemble for a decade before writing Book Two’s 300 tunes in just three months. Over the past eight years, the songs from Book Two have been recorded as volumes of The Book of Angels by a stellar group of musicians, including the Masada Quintet, Masada String Trio, Medeski Martin & Wood, and Marc Ribot.

Zorn says of Metheny’s recording, “Pat is of course a living legend—one of those rare lights in the universe. His incredible facility and dedication, indefatigable energy and focus, imagination, and never-ending curiosity have distinguished him as truly one of the greatest musicians on the planet.” He continues, “Tap is a showcase for Pat’s remarkable imagination, technique, passion, and love for the world. No matter how many times I listen to this recording I am hit with that same sense of exhilaration that hit me the very first time.”

Metheny, who recently won his 20th Grammy Award, adds, “I have admired John Zorn since the late ’70s and have followed his amazing output every step of the way. A few years ago, after contacting me to write some notes for one of his Arcana publications, John and I began an inspired e-mail connection. (As hard as it is to believe, we had never met in person over the years.) I mentioned that I had followed his Book of Angels series from the start and felt like I might be able to contribute something unique to the collection. With his enthusiastic encouragement, he gave me some suggestions as to which tunes were still unrecorded, and I picked the ones that jumped out and spoke to me. Over the next year, in between breaks from the road, I recorded them one by one in my home studio whenever I got a chance.”

Tap: The Book of Angels, Vol. 20

1. Mastema
2. Albim
3. Tharsis
4. Sariel
5. Phanuel
6. Hurmiz

Edited March 28, 2013 by CJ Shearn

[robertoart]

Well who woulda thought it. Truth is stranger than fiction.

I wonder how they got around Zorn's bagging of some of Metheny's Free Sonic stuff

I wonder also, if Metheny will invite Zorn to guest on the next Metheny/Mays collaboration

[7/4]

It almost sounds like an April Fools joke, but there's a listing on the Zadik web site.

[CJ Shearn]

Also on the Nonesuch page and Pat's site. This is not a joke, at all, Amazon has it listed too.

[JSngry]

Not sure why this would be thought of as a joke, although each guy's "quotes" reek of Stale PR Urine. But as far as Metheny & Zorn having a serious collaboration, yeah, sure, why not? Both guys are serious musicians with wide-ranging interests, never mind what kind of records they "typically" make.

[Aggie87]

Metheny's done more out there stuff than that - check his "Sign of 4" set with Derek Bailey.

[CJ Shearn]

Yeah, absolutely. That's a very unusual and intriguing set. It takes stamina in the same way "Ascension" or "Live in Japan" or Brotzmann does. He hasn't done much in the way of something extremely out since "Faith Healer" on the live trio record, but things on The Orchestrion Project like "80/81-Broadway Blues" and "Improvisation #2" (though it's structured free improv) are out there.

[B. Clugston]

Zorn's Masada work isn't what I would call out there. And Metheny has done some wild stuff in the past.

[JSngry]

Zorn & Metheny are at this point both established business entities of not-wholly-incompatible interests, so this would be what the business-heads like to call a "synergy".

Edited March 28, 2013 by JSngry

[Steve Reynolds]

Loved the first few Masada records but 500 songs?!?!

After 20 of them they are all damn similar

So after 200, he writes 300 in 3 months??

Insanity

[CJ Shearn]

Well it will be nice to have 6 similar pieces on the forthcoming record b/c I don't own any Zorn or Book of Angels yet!

[robertoart]

Zorn & Metheny are at this point both established business entities of not-wholly-incompatible interests, so this would be what the business-heads like to call a "synergy".

These were my first thoughts. The 'quotes' seem like a parody of effusiveness.

Kinda takes me back to this

With 30 years of excess cynicism.

Well it will be nice to have 6 similar pieces on the forthcoming record b/c I don't own any Zorn or Book of Angels yet!

Loved the first few Masada records but 500 songs?!?!

After 20 of them they are all damn similar

So after 200, he writes 300 in 3 months??

Insanity

I think 'the concept' has primacy here

[David Ayers]

So you guys think that Metheny has recorded Zorn compositions as a cynical exercise designed to sell more records? That seems wide of the mark to me.

[erwbol]

For a few years now some Zorn releases contain so much sugar there should be a sticker on them warning you to make an appointment with your dentist upon listening anyway. And not that I mind.

Edited March 29, 2013 by erwbol

[7/4]

Perfect for John Zorn fans who hate Pat Metheny!

[erwbol]

[CJ Shearn]

Pat does what he wants as an artist, when he wants and this is just a continuation of that. Has he had accessible records? of course, but not ever catering to commercial tastes on purpose. Since "Song X" he's owned the rights to all his masters, and Nonesuch is just a distributor, as were Geffen and Warner. When he initially proposed "Orchestrion", Nonesuch was reluctant to release it, but Bob Hurwitz at Nonesuch has been an artistic advisor for him ever since he was on ECM. "Tap" was recorded at Pat's home studio, and next year he plans on a new Unity Band (redubbed Unity Group) album, and then a long awaited PMG project. Preordered "Tap" last night at Amazon, $15.97 seems a bit high for a Nonesuch release (considering they abandoned the slip covered jewel cases and instead use mini LP sleeves), but this is a Nonesuch/Tzadik co release apparently. Tzadik has a lot of special editions, I'm wondering if they are releasing their own version of it.

Edited March 29, 2013 by CJ Shearn

[JSngry]

So you guys think that Metheny has recorded Zorn compositions as a cynical exercise designed to sell more records? That seems wide of the mark to me.

No, not that at all. Just that this is a good time for each to partner in this way, they're both established, they both are known to be "free thinkers", and there's no real risk involved for either. What there is is a market freedom borne of success and stability, which is one reason I'm not automatically down on cats who seek success and stability. Risk is cool, and so is freedom, but sometimes those two happen independently of/parallel to each other, and sometimes they actually get in the way of each other.

[CJ Shearn]

The risk for Pat is continued balking from PMG fans who have an inability to accept his other interests in different projects. Unity Band and the trio are considered too "straight ahead" (whatever that means) the continued Orchestrion use is too weird for a lot of people. The Orchestrion is really no different than when Pat used the Synclavier 25 years ago, or the Roland GR300 the past 30 years. They are all just tools. People understandably want to hear the Group get back together and constantly fear it's demise. The Unity Basnd may be the new PMG, time will tell. Pat's said Lyle Mays is enjoying the multitude of interests (the guy really is a genius) outside of music and Steve Rodby is producing many artists, in addition to sharing production duties with Pat. I think they'll get back to it when they get back to it, and if others want the PMG so bad, listen to any of the 15 records, that's what I do. Pat and Lyle have continued to write but I think the economic situation prevents them from another 150-200 concert tour. I've always been able to enjoy whatever context Pat chooses so this project is exciting to me.

Edited March 29, 2013 by CJ Shearn

[7/4]

So what is Lyle Mays up to then? What ever happened to Lyle Mays?

[robertoart]

So you guys think that Metheny has recorded Zorn compositions as a cynical exercise designed to sell more records? That seems wide of the mark to me.

Yes and no.

Not sell more records.

But any crossover of audiences will benefit the interests of both parties. Each of which has shown extremely shrewd career and 'creative' choices since their respective 'get go's'.

Cynical perhaps about the spin telling us just what an 'organic' process this project has been.

Same way I remain a bit cynical about how after years of lobbying from the Ornette sidemen Metheny worked with, Ornette 'just' decided to go into the studio with Pat. And then read later Metheny 'sing the praises' of Denardo's drumming'.

Edited March 29, 2013 by freelancer

[CJ Shearn]

So what is Lyle Mays up to then? What ever happened to Lyle Mays?

Lyle made a high profile appearance at TED in 2011 playing music using algorhythms, using a program he designed. It was a very unique set of music. He has interests in architecture, programming, mathematics and pool. He's also been playing with his quintet over the past year with his neice on vocals. He's supposed to make a new album, which I'm sure will be under the Metheny Group Productions banner and released on Nonesuch most likely if it happens.

Edited March 30, 2013 by CJ Shearn

[7/4]

So what is Lyle Mays up to then? What ever happened to Lyle Mays?

Lyle made a high profile appearance at TED in 2011 playing music using algorhythms, using a program he designed. It was a very unique set of music. He has interests in architecture, programming, mathematics and pool. He's also been playing with his quintet over the past year with his neice on vocals. He's supposed to make a new album, which I'm sure will be under the Metheny Group Productions banner and released on Nonesuch most likely if it happens.

Thanks.

For someone so important, he's living in obscurity.

[CJ Shearn]

7/4, it's unfortunate isn't it? He prefers it that way, I think. I generally hesitate to bring his name up in these parts because his recorded output as a leader is so small, and he generally is thought of as a Evans/Jarrett clone, which is unfair. Outside of Metheny fandom and synth nerds, he's not really thought of as anything, I seem to notice. Lyle's contributions I think are pretty big because I hear quite a bit of influence in younger pianists like Mehldau, and John Escreet, and his efforts in terms of integrating synths and acoustic piano are so innovative. For me, after Joe Zawinul, he's the most important jazz musician to investigate the possibilities of synthesizers. While Zawinul's an influence in the orchestration aspects, Lyle's approach in creating new, organic sounds and his knowledge of 20th century composers, created a vocabulary that's pretty vast, and he's one of the most inventive improvisers. His self titled album still kills me, every time I hear it. It's in regular rotation Most important, his influence on the shape of the Metheny Group sound, he and Pat are so tied together that in Pat's own projects, Lyle's influence is heard and felt clearly. I'm sure he consults with Lyle on many things. Jim Alfredson, who is a big admirer of Lyle said to me once, that debut album really holds up because it's in an area not many people continue to explore. All three of his Geffen era WB remasters are excellent and worth getting, too. Starting a thread on Lyle would be a interesting idea, see what kind of responses he garners.

Edited March 30, 2013 by CJ Shearn

[randyhersom]

The risk for Pat is continued balking from PMG fans who have an inability to accept his other interests in different projects.

I can't resist pointing out that Pat has been less affected by pressure to avoid surprising his fans than George Benson, and that he is currently more marketable than George Benson. Score one for diversity, artistic integrity and drive. To be clear, George does also possess these qualities, but he did honor his record company's wishes to avoid recording outside of the form where he had is greatest commerical success and I believe in the end his long term career suffered.