PAT METHENY
“Day Trip” (Nonesuch)
The guitarist Pat Metheny has made some of his most engagingly forthright music in trios, enlisting just a bassist and a drummer for support. “Bright Size Life” (ECM), his auspicious 1976 debut, falls into this category. So do a surprisingly small handful of subsequent studio albums throughout his prolific career: roughly one per decade, each with a different trio, and each more or less a classic. It’s no small thing that “Day Trip,” his second since the turn of the century, is at least as good as any of the others.
Mr. Metheny entrusts a lot of heavy lifting to the bassist Christian McBride and the drummer Antonio Sanchez, a rhythm team he has already tested on the road. (They’ll start up again in a few weeks for a tour that ends March 18 at Town Hall.) And he savors the contrast between these proficient sidemen, which might fancifully be described as the difference between earth and sea. Mr. McBride is a bedrock player, authoritative with tempos; Mr. Sanchez has a way of articulating pulse as a play of current and tide.
To anyone even casually acquainted with the big-horizon sweep of the Pat Metheny Group (which also features Mr. Sanchez), what comes next is obvious: Mr. Metheny stands in for sky. Yet his playing, on the brisk near-sambas that bookend the album and virtually all that comes between, only occasionally feels diaphanous or airy. More often it conveys a sense of proportion, substance and coherence, along with rigorous clarity; solid benchmarks for any great improviser at the peak of his game.
And for the first time on a trio record, Mr. Metheny includes only original compositions here. They make unpretentious sense as a whole, with foursquare ballads clearing a bit of breathing room between ebullient post-bop exertions. More than halfway through, there’s a pair of pointedly titled songs: “Is This America? (Katrina 2005),” a calm acoustic elegy, and “When We Were Free,” a waltz first heard on the Pat Metheny Group album “Quartet.” But the message takes a back seat to the music, which tenders its own rewards. NATE CHINEN, NYTimes. 1/29/2008