Japanese Edition with bonus track.
Speaking of Now finds guitarist Metheny leading a retooled Pat Metheny Group; in addition to longtime core members, keyboardist Lyle Mays and bassist Steve Rodby, the Group now includes drummer Antonio Sanchez, trumpeter/vocalist Cuong Vu, and Richard Bona, who's best known as a bassist, but who functions primarily as the Group's percussionist/vocalist. The result is an exquisite album that features fresh new musical perspectives while losing none of the Group's familiar wide-ranging, melodic, always accessible sound. Most of the tracks on Speaking of Now were composed by Metheny and his longtime collaborator Mays, although three tracks were composed solely by Metheny…

Speaking of Now finds guitarist Metheny leading a retooled Pat Metheny Group; in addition to longtime core members, keyboardist Lyle Mays and bassist Steve Rodby, the Group now includes drummer Antonio Sanchez, trumpeter/vocalist Cuong Vu, and Richard Bona, who's best known as a bassist, but who functions primarily as the Group's percussionist/vocalist. The result is an exquisite album that features fresh new musical perspectives while losing none of the Group's familiar wide-ranging, melodic, always accessible sound. Most of the tracks on Speaking of Now were composed by Metheny and his longtime collaborator Mays, although three tracks were composed solely by Metheny. There's a buoyant feel to this album that is not to be confused with lightness. This is complex, intricately detailed music that reveals additional layers with each listening. Metheny seems to delight in discovering the myriad means by which his prodigiously accomplished bandmembers can provide coloration to the compositions, both within the larger group and in solo spotlights.

If 1980's As Falls Wichita, So Falls Wichita Falls was defined by Pat Metheny's charisma, its less accessible but certainly rewarding successor, Offramp, finds him leaning more toward the abstract. But as cerebral as Metheny gets on such atmospheric pieces as "Are You Going with Me?" and "Au Lait," his playing remains decidedly lyrical and melodic. Clearly influenced by Jim Hall, the thoughtful Metheny makes excellent use of space, choosing his notes wisely and reminding listeners that, while he has heavy-duty chops, he's not one to beat everybody over the head with them. Even when he picks up the tempo for the difficult and angular title song, he shuns empty musical acrobatics. Throughout the CD, Metheny enjoys a powerful rapport with keyboardist Lyle Mays, who also avoids exploiting his technique and opts for meaningful storytelling.

This live American concert in 1992 emerged on cd at about the same time as the Geffen release "The road to you" which was culled from PMG's european concerts in the early 90's. While this current selection may not quite equal that release in the quality of the sound, it is a much better live performance overall. There are a couple of small blips in the performance but this is live and taken from one concert. Raw Metheny but edge of your seat performance.

When Metheny celebrates his cerebral side, he usually follows up with something more accessible. After his difficult yet rewarding collaboration with John Scofield, I Can See Your House from Here, Metheny stresses accessibility with this captivating live album. The primary focus is on his Brazilian-influenced material from Still Life (Talking) and Letter from Home, and the very cohesive Pat Metheny Group offers characteristically expressive versions of such favorites as "Have You Heard," "Beat 70," and "Better Days Ahead." While he could have offered a wider variety of material and perhaps revisited some of his early gems, everything that he does include comes across as honest and heartfelt. Thankfully, Metheny's emphasis on accessibility and crowd-pleasing doesn't come at the expense of his artistic integrity.