{"id":11599,"date":"2020-03-02T00:00:00","date_gmt":"2020-03-02T05:00:00","guid":{"rendered":"https:\/\/panm360.com\/?post_type=records&p=11599"},"modified":"2020-03-02T16:02:27","modified_gmt":"2020-03-02T21:02:27","slug":"from-this-place","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/from-this-place\/","title":{"rendered":"From This Place"},"content":{"rendered":"\n

Pat Metheny \u2013 Pat la mitaine, as my friend Henri nicknamed him on a snowstorm night when the pair of us were half the crowd who came to hear him and his band at El Casino \u2013 has an instantly recognizable sound, a timbre with an almost too bright clarity, it’s also a style, equally unique, with vertiginous flights in search of the paroxysmal note, his elaborate constructions becoming more and more complex over the years while remaining fundamentally the same, much like his tousled hair and striped t-shirts. Now, after a few years of silence, Metheny\u2019s new album  is undoubtedly his most ambitious. Inspired by Creed Taylor’s productions on the CTI label in the \u201970s, which used Don Sebesky’s orchestrations mixing jazz and big band, he serves up Metheny \u201cwith strings\u201d in a big way. And he did not skimp on resources. He called on two top arrangers for the scores, and on an orchestra experienced in recording Hollywood soundtracks. The result is even denser and busier music, where the strings serve as a showcase for Metheny and his musicians, who shine with all their energy. It’s all there, just like in the movies: action, drama and tender moments. As a bonus, there’s even MeShell Ndegeocello singing a bittersweet ballad. He’s really put on a show. In the moment, you get an earful, but afterwards, strangely enough, as with some films, nothing seems to really stick.<\/p>\n\n\n\n