Pat Metheny

Much as I love Pat Metheny's music, I have to damn this recording, and firmly: DON'T SPEND ANY MONEY ON **THIS**!!! The only reason this dud has received any five-star reviews is because Metheny's music is so transparently wonderful that it shines when even the worst performers attempt it -- as is the case here with Metheny's Polish collaborator. Unfortunately, her rather unremarkable voice takes away greatly from what would otherwise be a pure pleasure.

For a clue as to how Metheny's and Mays's music should be handled, listen instead to that Chicago marvel, Kurt Elling on his 2003 CD Man In The Air. Elling has a clear facility with lyrics, as his take on Minuano amply demonstrates: both the song and the singer simply soar. As well they should! I could listen to that take endlessly, just as I could the original on Still Life (Talking). I doubt anyone would feel that way about anything on Upojenie, given a choice: this was simply an experiment that should never have been recorded. Experiments are well and good, and useful -- but the ones that fail should be culled immediately in favor of better work. Nobody would miss **this** disaster if it fell off the discography ...

Seriously, check out the Kurt Elling version of Minuano. Breathtaking!! One can only hope that he performs and writes lyrics for more Pat Metheny tunes (perhaps Metheny will notice and propose a jam session). In fact, THAT would be a collaboration truly *worth* hearing.

reworking of PMG tunes - tastefully done, without losing too much of the original; overall style is maybe a little "lighter" than original PMG renditions; Metheny's solos live up to usual standards; Polish at times may not be the most beautiful singing language :-)

Having already owned the original Polish recording for over three years & been at times enraptured & at others left cold by it, I'm not at all surprised at the diversity of reviewers' opinions here.
Let me explain.
Firstly, there's absolutely nothing wrong with the concept of this album (ie. adding words & vocals to some of Metheny/Mays' best tunes), nothing at all wrong with Jopek's voice (light yet appealingly smoky) &, in the main, nothing wrong with Pat's new arrangements (mainly just voice, guitar, piano, bass & drums with occasional synth). Indeed, from the opening Picasso guitar playing of "Cichy Zapada Zmrok" a FIRST listen invariably pleases. However, from track 2 "Mania Mienia" ("So May It Secretly Begin") a slightly unsettling phenomenon starts to occur - on first blush you can't help but think that the tune is "meant" to have words yet it seems that as the arrangement gets ever so slightly more embellished (in this particular case a little bit of backing violin & some overdubbed vocals) you start yearning to hit the eject button & replace it with the original version from "Still Life Talking". Same with "Przypeyw Oddech Czasu" (Tell Her You Saw Me) where the almost "plodding" vocals plus a little too trilling piano & then a faux South American pan-pipe & conga effect had me almost gagging on one listen & again yearning & reaching for the original from "Secret Story". Same again with "Tam Gdzie Nie Siega Wzrok" (Follow Me) where there's simply FAR to much vocalising which diminishes the raw "punch" of the original version (I know everything's a matter of taste but IMHO the vocalese voice-over of the "bridge" part which continues as a backing vocal through to the end of the track is frankly awful!).
So, here's the rub - these are such great tunes that adding a new dimension (ie. vocals sung by quite an appealing singer) seems like a great idea & on first listen you're happy enough to give the new arrangements their "head", so to speak. However, after a while you get the sense that some of the arrangements have been ever so slightly overdone & maybe the original versions are the better ones after all.
So, this is a 3.5-4 star disc because:-
on the plus side, the tunes ARE fantastic (worthy of at least 4* on their own) & at times the arrangements are indeed new & fresh & add a new dimension to Metheny's greatness;
on the minus side, there's often a bit too much singing/not enough guitar & occasionally over-wrought arrangements which make the originals seem just fine as they were.

This is a wonderful CD and Anna Maria Jopek has the perfect voice to bring vocals to Pat's music. If you are a true fan of Pat and Anna Maria, go out and get this CD. A true fan of PM would not have to listen to this first before buying and anyone giving this CD a 1 Star rating has no concept of what music brings to us all. *****

I bought this cd today excited about a different Metheny collaboration, and I found it nothing but disappointing. I am a HUGE Metheny fan (I own every one of his cds), but I cannot believe he did this with his music. He and Anna Maria Joper have ruined his compositions; they sound like a beginner arranged them using the program Logic for the first time.
What is Lyle Mays thinking about this? It is a Pat Metheny Group Production and some of the compositions are co-written by Metheny and Mays.
I hate this cd and the fact that I spent $15 on it. It will be the last time I buy a Metheny cd without listening to it first.
I feel deceived.
Alfonso
PS: I gave it one star only because I had to.

I am a BIG Pat Metheny fan. Have been since his 1st recording. I like this trio recording. Helps that I'm also a Big - Big fan of Christian McBride, too. Great musician synergy here. Good tunes, great playing.

Buy this one now. We'll all be enjoying it for years to come. I find the drummer especially good, as well.

This is amongst Pat Metheny's finest releases to date. To begin with, this trio is amazing, and I would go as far as to say that it's my favorite Metheny trio.

Antonio Sanchez's drumming perfectly contemplates Metheny's fluid, beautiful, and deeply articulate post-bop phrasing with such artful cleverness. He plays quietly, hanging in the background to allow Metheny to have his say, while making perfect elaborations with heavy cymbal use, but also not being afraid to speak up when the time is right, and exploding into drumming reminiscent of hard-bop Art Blakey.

Bassist Christian McBride is solid and is the glue that holds this magnificent trio together. He stays low and constant underneath Metheny's speedy and precise phrasing, while also keeping perfect rhythm with Antonio's abstract and artful drumming. Also speaks up when the time is right, though those moments are a bit sparse on this album, given the nature of the music and overall pace of Metheny and Antonio together.

Metheny is at his finest in this album. Upon a first listen I was unable to get into the new tone that Metheny had adopted, being a die-hard fan of Bright Size Life, I was lost without the cutting and sharp treble tone of Bright Size Life. Nevertheless, I continued to listen and found this album to be just as good, if not better. Metheny's tone has evolved quite a bit over the years and it's perfect for what he's playing and whose he's playing with on this album. His phrasing has become beyond exceptional and the soft lyrical quality of his phrases have become incredibly sophisticated to a profound point of articulation that leaves the listener speechless.

Not to mention the deep passion and emotion that lurks and is revealed through this album is dynamic, gorgeous, and revelatory. Day trip will always be one of my favorite Jazz albums of all time. If you are ever considering buying this album then I would suggest that you stop even "considering" it, and just buy it and give it a listen. And listen a few times. There's so much depth buried in the passions of this album that you will discover and feel more and more each time you listen through it.

Yes Pat is the best guitar player in the world,he is a great master,composer,arranger a GREAT Musician.I saw him live at the Puerto Rico Heineken Jazz fest this june'08 with the band,McBride on bass,and Sanchez on drums,the whole crowd were out of words after his performance.The best record No Doubt.

Pat Metheny convened another well-regarded trio in Christian McBride and Antonio Sanchez for touring and two CD's. This is the first one, "Tokyo Day Trip Live EP" is an addendum of sorts. This CD starts off mild-mannered (it's overall fairly mild-mannered), but that doesn't mean there isn't great playing or improvisation. "Let's Move" takes Pat's lyrical guitar playing to a faster tempo. "Is This America?" is a soft acoustic guitar song. I like it, though since it's a tribute to New Orleans I hoped it would be better. "When We Were Free" has a catchy melody, and Pat uses a more overdriven guitar tone and then his guitar synth - it's one of the better songs. "Dreaming Trees", like most songs with "dreaming" in the title, is a nice acoustic song. "The Red One" is familiar from the Metheny-Scofield album "I Can See Your House From Here". Pat's one-guitar version is entirely credible, the mark of a well-written song. "Day Trip" ends the CD with a bunch of very good, and happy, notes. I think any Pat Metheny fans would like, and any fans of mainstream jazz guitar. There are some people (like me) who aren't fans of the "marshmallow Pat" but like the "serious jazz Pat". If you're in that category, you'll like this one.

This was nice, but I think I was expecting a bit more, still very nice.

a purified and refined beauty; this is controlled technique, and takes a skilled, yet patient ear to understand how rare this sound is.

An intimate, sometimes haunting, always soothing compilation of melodious tracks by two masters. The focus is introspective yet sophisticated; it is a subtle, lyrical synthesis of dreamy acoustic guitar and bass.

Haden's bass lines twine and insinuate through the familiar Metheny guitar work; this is real mellow winding-down music, better than evening cocktails.

These tracks are only vaguely jazz-like; really, this music is genre transcending. Great stuff as background music to read or write by. If only more of reality was this smooth . . .

Highly recommended.

Extracts: A Field Guide for Iconoclasts

reading & music go together like wine & cheese at my house. since most of my reading is done later in the evening, i am always looking for great music on the quieter side (the stooges, husker du, etc... will not do at midnight). this is one of my favorite late night recordings. I can't recommend it highly enough. Metheny's guitar & Haden's bass work up perfection on these melodies. Each track is a gem. Can't wait to give it yet another listen.

I often return to this recording. It's simply sublime. The interplay between the players is beyond words, and the last song "Spiritual" is just that. Gives me goose bumbs everytime I hear it. A great record for falling asleep to, or having a quiet evening with someone you love. I can't recommend it enough. I'm not a huge fan of Pat's 80's new agey sounding stuff, but "Beyond the Missouri Sky" is amazing. I've enjoyed several Charile Haden records as well. I can't believe that this record is buried as cd #38 on amazon when one types in Pat Metheny. To me it should be the first one up, even before his first three records.

Pat Metheny has been a hit with me since the early 80's

Each release has for me made its mark to some extent.

Always a companion on my travels to "of the beaten track" exotic locations for my work, the music still conjures a remarkable ability to rekindle in my mind some great experiences.

I remember once a girlfriend commenting to me about Metheny's music saying "this is foyer music" - A month later I was in a foyer of some far away hotel listening to that exact Metheny album, but it worked! (BTW Its much smarter than foyer music)

Secret Story is without doubt one of the strongest most evocative albums produced, each track is extraordinary in the way it weaves a picture via a musical composition. The re-mastering on this CD is exceptional.


A great introduction to this artist. If you enjoy film sound tracks I believe you will get a big buzz from this album

LOVE IT.......

CD by Pat Metheney
I liked every composition on the first listen. The pieces evoke so much emotion in me. The added vocals and orchestration make this CD unique among my Metheney collection.It's a must listen if you are a fan of his music.
Lane Hall

Secrets Story is probably my favorite Pat Metheny album. From the children's choir of "Above the Treetops" to the sea shanty-like accordion sounds of "Antonia", this is an album that's perfect for almost any occasion. It definitely tells a story throughout. When I heard it was being reissued with bonus songs from the session, I was delighted and anxious to get my own copy.

After hearing the 5 extra songs, I have to say, I'm disappointed. They're are "ok" but not spectacular and barely worthy of being on this classic cd. As I listened, I was hoping at least the final song would make the purchase worth my while but that wasn't stunning either. If you're interested in "Secret Story", stick to the less expensive original as the extra songs on the reissue are on a separate cd. If you already have the original, then be assured you have the best version.

I have always loved this CD since I bought the cassette version nearly 15 years ago. I got the CD used two years later. This deluxe version is way better than the original CD. I loved the four bonus tracks!!! I have already transferred the tracks to my computer, and now they'll be on my Ipod all the time.

Explores the entire range of human emotions someone said? It was so light weight and watered down and bland, the only emotion I had was one of drowisness.

I'd personally choose New Chautauqua or A Map of the world, even We Live Here over this.

This is just a matter of taste, but I have never quite 'got' the PMG. Mostly I find the music very simple and saccharine. I find tracks like 'Phase Dance' unbearable. But there are some excellent tracks here and there, eg. 'Are You Coming with Me?', or 'The Heat of the Day', and Metheny can produce some great soloing.

I think the title track is a very good piece of music. It starts atmospherically and has some interesting dynamics throughout. 'September 15th' is above average for PMG. The other tracks are, again, just a bit too twee for my tastes.

For those wanting longer pieces with more emotional oomph and musical interest, try Yes's 'Close to the Edge' or Allan Holdsworth's 'The Unmerry-Go-Round'.

This classic from 1981 is one of my favourites from the Metheny/Mays partnership and is a must-have for any fan of their music. It's mesmerizing stuff indeed.

The title track is very experimental even by today's standards let alone back then and as one might predict, it got (and still gets) very mixed reviews. Personally, I love it though and, according to Metheny himself in a magazine article, many of the ideas employed on the Pat Metheny Group's 2005 album The Way Up actually had their genesis on this recording 24 years earlier! I find that amazing.

The album speaks to me in so many different ways and though I've had it on vinyl since 1987 (the brilliant title track takes up the whole of side one!), I just had to get the CD because this is the kind of music I love playing in the car while driving late at night. "September Fifteenth", a dedication to Bill Evans and ""It's For You"" are also personal favourites as is the closing vocal track, "Estupenda Graça", sung by Nana Vasconcelos, whose vocals can also be heard in other places on the album. At 2mins 41secs it's much too short, though I have read somewhere that it was expanded on during a subsequent live tour that included the singer & percussionist in its lineup. Vasconcelos also plays berimbau, percussion and drums on this recording. Lyle Mays plays piano, synthesizer, organ and autoharp and Pat Metheny plays electric & acoustic 6 & 12 string guitars and bass.

These dudes are simply the best. They've had me enthralled for well over 20 years now and I applaud them for refusing to adhere to the narrow definitions of jazz that many would prefer them to.

I probably would have given this a 5-star rating if it wasn't for that pointless little 2-minute song at the end with the vocals that, like the song itself was totally unnecessary. It still confuses me why they tagged that inane little piece on the end of an otherwise supurb piece of work. The 20-minute title tune is difficult to describe.....as I said, it's fascinating, haunting and it stays with you. It's a beautiful slab of artistry that deviates not only from Metheny's norm, but ANYONE'S norm. It maintains a minimalist foundation, it builds, subsides and just continues to mesmerize. The next song "Ozark" is more of a straight jazz piece featuring Mays on the piano, and the next 2 songs are fabulous pieces that remind you more of what you expect from Metheny. The album would have been excellent and complete with those 4 songs. Despite the diversity, it is an amazingly cohesive album. Everything goes together so well!! Then, that last bit just hangs there and makes you say, "What was that for?" There is an album's worth of brilliant material here. The album is worth any cost just for the title tune, but most of the rest of the album is a tremedous supplement. Overall, this is an album you should get........most of it, you will play many times over!

If I had listened to samples before and not just read the reviews - I never would have bought it. That does not mean that you wouldn't like it.

I was fortunate enough to be music director at my college radio station when AFWFSFWF came out and we wore the grooves out on this disc. It's been 26 years since, and the music has proved to be timeless. It's also full of messages- I've heard the theme of the title track covers anything from nuclear war to Vietnam. That ability to take away different interpretations of the music is what has impressed me so much.

I don't know if this has been mentioned before here, but I was once told that all of the images on the album cover represent a song title on the album. I can understand that. It's an awesome cover, too.

I had most of Pat Metheny's musical output. I did not have this and I did not have his very first CD "Pat Metheny Group." I ordered both CD's at the same time. I love the "Pat Metheny Group" CD and if you don't have it get it as it really is one of his best. This CD pales by comparison. The music is pleasant but goes nowhere. Pat Metheny in my mind is one of the few musicians whose music is evocative to me. I get chills even now thinking of some of his songs in my head. There is nothing evocative or memorable here. Great dinner music but it starts and stops there. There are a couple of songs that stand out (Towrds the Light in particulary) but much of it is infected by sameness. I am no fan of the Jim Hall collaberation for much of the same reasons. I'm still glad I bought it and have nearly a complete collection but don't get your expectations too high.

I have been a huge Metheny fan since the Offramp tour. But I find this CD almost unlistenable. All of the Mehldau/Metheny music sounds like "Pat Light"--you know, "Weather Channel music." I absolutely do not hear what so many others apparently hear in Mehldau's playing. More Lyle!More Lyle all the time!

This is a second Metheny Mehldau experience which combines the genius ability of a world class guitar player with a shining star piano player. The result? stunning and interesting!

My wife and I thought it'd be cool to spend a weekend in Toronto and see the Metheny/Mehldau Quartet. We were right!! The studio recording does a nice job of capturing what the quartet did live. This is one of those rare cd's that'll reside in your car stereo player for a week at a time. Highly recommended.

Let me be clear: I am a BIG Metheny and Mehldau fan. Big. Bought this CD (MMQ) without thinking once.

Right by the CD player now-- Metheny: PAT METHENY GROUP (from 1978, and I still have the cassette I bought almost 30 years ago!), IMAGINARY DAY, NEW CHAUTAUGUA; Mehldau: DAY IS DONE, HOUSE ON HILL, PLACES; Metheny & Mehldau: Michael Brecker's PILGRIMAGE.

And this CD... it's nice... it's pleasant... it's not new age, not elevator music, not smooth jazz... my English friends would say it's lovely... but...

But it's hard to listen to. I've tried. Again and again I find my mind wandering. There's so little to grab the attention, and so the mind goes inward. Great background music for a party. I could work to it all day long.

And I'm disappointed because I thought Metheny's playing on PILGRIMAGE was just wonderful. Mehldau can thrill even in a trio. Yet MMQ? Nice...

Kirtland Peterson

Pat Metheny's Day Trip CD with Christian McBride and Antonio Sanchez came out earlier this year, and it was very good. The Tokyo Day Trip CD is a follow-up with the same musicians, and it's also very good, but its strengths are different. The CD opens with the Eastern-sounding "Tromso". After this quiet piece, Pat plays an excellent uptempo song "Travelling Fast". Metheny's good qualities are on full display, as he plays fast melodic guitar. "Inori" and "The Night Becomes You" are good acoustic pieces. "Black Arm & Backcharge", though, sounds like Nels Cline covering Pat Metheny. It's distorted, and also very good. The high points of this CD are higher than on the studio disc, but the five songs come at you from four different places, so it has less internal consistancy than most live albums. As far as the "EP" tag, ignore it -- the CD is over 40 minutes long. It's shorter than most modern jazz CD's, but longer than many 50's or 60's discs. This is highly recommended for Metheny fans or anyone interested in hearing what he's all about.

Fresh on the heels of his excellent full-length trio album "Day Trip" from earlier this year, Pat Metheny releases a live EP entitled "Tokyo Day Trip". While this is being seen as a companion piece to the full-length disc, "Tokyo Day Trip" definitely can stand on its own as a separate album. Also, while this is being called an EP, it clocks in at nearly 41-minutes total so this is essentially an LP-length CD.
Like "Day Trip", its "Tokyo" counterpart consists of all Metheny originals. The opening piece "Tromso" is a quiet meditative piece which brings Metheny's years on the ECM label to mind (as also stated by another Amazon reviewer). His electric sitar is up-front and center here. Bassist Christian McBride provides a solid accompaniment to Metheny with his bowed leads heard in the beginning while drummer Antonio Sanchez further enhances the space with his gentle cymbal and orchestra bell work.
The pace picks up with the nearly 12-minute burner "Travelling Fast". All three musicians have their moment to shine here. Metheny sets the pace by stating the theme and launching into a fiery guitar lead. McBride follows with an astonishing bass solo with interjections from Sanchez who in turn takes over with his own aggressive drum solo. Metheny and McBride also bring in some spice during Sanchez's solo by throwing in bits and pieces of melody to keep the momentum going. Finally, Metheny takes the spotlight once again with a jaw-dropping guitar solo which leads to the entire band fading into silence.
Following this, we are once more brought back into quiet territory with the mellow acoustic "Indori". Pat Metheny has written many acoustic guitar pieces over the years and this one ranks among his very best. Perfect music for a candlelight dinner.
But before you get settled comfortably, here comes the jolting fusion-rocker "Back Arm and Blackcharge". Here, Metheny suddenly turns into John McLaughlin with a frantic fast-charged Mahavishnu-like riff. He then goes wild with an abundant blistering guitar lead before handing the spotlight over the Christian McBride. Things look as though they may settle down during McBride's bass solo but soon enough Metheny comes back in and the band is blowing on all four cylinders like a heavy metal power trio. Definitely a change of pace from the rest of the tracks on the album.
Considering the relentless energy heard on the previous track, the album's closing track "The Night Becomes You" almost feels like an afterthought. The piece once again launches Metheny back into acoustic territory with an emotionally beautiful ballad. Pat is the only soloist here displaying his acoustic guitar playing at its very best with solid accompaniment from McBride and Sanchez. Sanchez's unintrusive cymbal work is also a highlight here.
If you enjoyed "Day Trip", you'll definitely find plenty to digest with "Tokyo Day Trip". As mentioned above, I tend not to view this CD as an EP but rather a full-length album because of its LP-length size. The first two tracks could easlily be labeled as Side One while the remaining three could be Side Two. Now matter how you view it, "Tokyo Day Trip" is another stellar release from Pat Metheny and contains some awesome music. Pat, Christian and Antonio were definitely on a musical high when they performed these tracks and this is just a sample of that interplay as put on display during a few glorious gigs in Tokyo.

The rock fusion piece just doesn't belong with the rest of the album,
which is straight ahead cool, eminently solid Metheny jazz..
Otherwise, 5 stars to the guys.

If you already know the Studio recording "Day Trip" it is still worthwhile listening to the life performance. Highly recommendable for everyone who likes jazz phrases, variations and interpretations.
Personally I use the CD a lot in the car on long distance travels. It is really calming me down and cheering me up.
JR

This five-set EP is presumably released as a companion piece to the trio's Day Trip album released earlier this year. Nonesuch could've easily released both sets at the same time, perhaps as a double album or something, but I guess the more money that can be made out of us punters, the better for business.

Not that I'm complaining. Recorded in front of a live audience in Tokyo the trio - Pat Metheny, Christian McBride & Antonio Sanchez - are at their most formidable here with Metheny on guitar, electric sitar, baritone and acoustic guitars; McBride on acoustic bass and Sanchez on drums and orchestra bells. Each tune showcases the amazing skills of the three musicians, especially Sanchez who comes alive in a way that he sadly didn't on Migration, his own recent album.

"Tromsø" is one of those spacey, atmospheric numbers that Metheny became famous for back in his ECM days; "Traveling Fast" is as the title suggests, an upbeat, almost frenetic number and closer to Metheny's present day staple. "Inori" is an acoustic ballad, and as beautiful as one might expect; "Back Arm & Blackcharge" is a noisy, rock-influenced number that I care for the least out of the five tunes and finally, we return to that wonderful acoustic sound for the album closer "The Night Becomes You".

All songs are written by Metheny and the set is produced by him and co-produced by Steve Rodby.

As I said at the top, it would probably have been kinder to the fans to release this and "Day Trip" as one double set, especially in these testing economic times - but do I feel ripped off? Not even slightly. There's some beautiful, totally unmissable music on here.

This is hands down Metheny's best (and most edgy) album. I would even rank in the top 5 albums I have ever heard. I have listened to the album at least 1000 times and it does not get old. Jaco's bass playing is also among his finest, especially the solo on the track "Bright Size Life." I would especially recommend this album to people who like rock or alternative music and want to get onto jazz.

I agree with all of the positive reviews for this music. As a drummer I am fascinated by the playing of Bob Moses. Bright Size Life was one of my first exposures to jazz music. It's 10 years later, all of the jazz genres have been taken into account, and this drumming still represents a peak of beauty to me. Missouri uncompromised and the concluding drum solo on the Ornette tune take the cake. Bob Moses!!!

I'm not a big Pat Metheny fan. It's not that I don't appreciate his genius; I just never got around to listening to him very much (much to my dismay). In truth, I got this album because of Jaco. At first, I thought the whole work was a little too low-key and esoteric, but as I kept listening, I began thinking that this may be Jaco's finest. His fretless sound is indeed at its best, whether he's playing a slower melody line as in "Sirabhorn," or a funkier riff as on my favorite cut of the whole album, "Omaha Celebration." I think what surprises me most is how laid back Jaco is, and how much I like that he is laid back. Don't get me wrong -- I love the "in your face" Jaco. It's just that when it comes to all-around musicianship, this work is just so much more meaningful and moving than his self-titled solo album (which is perhaps one of the most important jazz albums ever made)or "Heavy Weather." Of course, this is all subjective. The only thing I can say for sure is that "Bright Size Life" is one more piece of evidence proving that 1976 was Jaco's finest year. MBK

A watershed recording, and the first as a leader by Metheny. And the amazing thing is that some of these tunes were actually exercises that Metheny wrote for his Berklee jazz guitar students, after he segued from student to instructor.

While I'm a long-time jazz fan and sometimes performer, I've only lately come to appreciate Mr. Metheny's playing. This is a must-have in the library, not only for the guitar work, but Bob Moses and Jaco are on fire as well.

Pat Metheny, whether, in a trio, group or solo is and will always be a brilliant musician, writer and outstanding Jazz person. I have most of his CD's and have never regretted any of my purchases.

My favorite PMG recordings: Travels, The Way Up, We Live Here, Still Life Talking, Letter From Home. Pat Metheny is the only jazz musician of our generation who has attained the stature of Ellington or Miles Davis. Still Life Talking, fine wine that it is, ages wonderfully.

This is one of Pat Metheny's best. I have the original CD release and have used it as a reference when auditioning audio equipment. The original recording really is great. So what could the studio possibly do to improve it when remastering?

Apparently the studio thought that it was important that this recording sound good when listening to it in the car, because they boosted the average sound level by compressing the loud parts. Sure, when comparing the two versions with the volume knob at the same setting, the quiet parts of the remastered version sound clearer and more distinct. But that's because the quiet parts are louder. Unfortunately for the remastering engineer it's not possible to make the louder parts louder, too. The result is the loss of dynamic range, and occasional clipping. 5 of the 7 tracks hit the maximum level on the remastered CD. Only 1 does on the original.

So what about those quiet parts where the remastered version seems to sound clearer? When the volume level is compensated for the difference in average levels, the original sounds almost identical to the remastered version in those quiet parts. Too bad -- the original is just as clear as the remastered version and has greater dynamics. If you want compression, a lot of consumer playback equipment has a compression circuit, often called "loudness". That will make the quiet parts louder so just about everything is the same volume, which should be great for listening in your car.

I'll be keeping the original and flipping the remastered version.

Has been one of my favorites from Metheny, only had it on vinyl until recently, so now I can enjoy it again.

As a long time Metheny fan, I recommend "Stil Life" as his best work to date. He excels in both virtuosity and composing abilities in this album. "Minuano", "Last Train Home" and "Third Wind" are real masterpieces.

This CD needs to be a part of your library if you like jazz and it is a must if you are a Pat Metheny fan like me. I highly recommend adding this one to your collection.

The product was delivered and received in excellent manner. Makes me want to order more in the future. Thank you for not letting me down!!!

I'm writing this review specifically for the remastered versions of Still Life Talking, Letter From Home, and Secret Story. Chances are you probably already own these and are wondering about the new versions. If these are some of your favorite albums, as they are mine, then you can't go wrong. Of the 3, SLT and LFH show the biggest improvements. They both have a much wider soundstage and improved depth with a much cleaner high end as well as powerful bass and clarity. I have listened side by side with the originals and the difference is VERY noticeable. If you have a good system these are fine recordings. (No Ipods please.)

However unless you are die hard Metheny fan, Secret Story is not that great an improvement. This was already a great recording, especially for 15 years ago, and side by side with the original it's hard to tell. In some areas slightly. Enough to warrant the cost of a new CD, well maybe. The extra bonus CD material is mediocre at best and even though I'm a huge fan I probably could have lived without it. It's just OK. Nothing stellar here.

Bottom line: SLT and LFH? Yes, definitely an improvement. Get them. SS....well, maybe if you're a huge fan. (Or if you've never heard this album in the first place. Some of the best music ever made. Period.)

Simply breathtaking.

This CD was my introduction to Pat Metheny Group, and I have been hooked ever since. If you don't own this, do yourself a favor....buy it and join our club.

I listen to Slip Away at least once a week for going on 11 years now.

I've been a Pat Metheny fan for many, many years, having been hooked originally by the TV video (yes, Pat did VH-1 way back when!) for "Are You Going With Me?" back in the '80s. This led to my purchase of "Offramp," and I've never looked back.

"Letter From Home" is breezy, cool and delightful. It's powerful - powerful enough to shift your entire mood in less than 30 minutes. Begin with "Slip Away," an absolutely beautiful composition which cannot be outplayed. Drift through the rest of the album and, depending on where you are and what time of the year it is, sit outside and look at either the stars or a rolling field of grass. And relax. And enjoy. It's simply that good.