1. Police People (4:57) 
2. All of Us (0:15) 
3. Good Life (3:25) 
4. Word from Bird (3:48)          play
5. Compute (2:03) 
6. Veil (3:42) 
7. Song X (5:34)                  play
8. Mob Job (4:11) 
9. Endangered Species (13:18) 
10. Video Games (5:20) 
11. Kathelin Gray (4:13) 
12. Trigonometry (5:05) 
13. Song X Duo (3:07) 
14. Long Time No See (7:38) 

Musicians:
Pat Metheny - guitar, guitar synth 
Ornette Coleman - alto saxophone, violin 
Charlie Haden - bass 
Jack DeJohnette - drums 
Denardo Coleman - drums, percussion

The untrammeled pleasure Pat Metheny has given this listener over the last couple of months with the freewheeling trio album Day Trip (Nonesuch Records, 2008) has prompted a trawl through the guitarist's back catalogue in search of another solid gold fix. It's been a lot of fun—with the highlights including two other trio sets, Trio 99-00 (Warner Bros, 1999) and Rejoicing (ECM, 1985), a patchy but compelling early collaboration with bassist Charlie Haden and drummer Jack DeJohnette , 80/81 (ECM, 1980), and the Pat Metheny Group's atmospheric live double Travels (ECM, 1982), long overdue for a lifetime achievement award as an "acceptable face of fusion."

But the 24-carat muthalode, the ripe mango in the creme brulee, has proved to be Song X: Twentieth Anniversary (Nonesuch Records, 2005), an expanded and remixed edition of Metheny's 1985 disc with saxophonist Ornette Coleman, also featuring Haden and DeJohnette and second drummer Denardo Coleman. For it will still scare the shivers out of you, still take you on a ride to beyond...it hasn't lost one iota of its power or beauty in the 23 years since it was recorded.

Song X was a jaw droppingly audacious project for Metheny to undertake, especially so as it was his debut album for the Warner group after some 10 years with ECM. On the face of it, Metheny and Coleman were light years apart; a lyrical, changes-based guitarist with a parallel (and to many listeners, worrying) fascination with fusion, and an uncompromising free jazz iconoclast 24 years his senior. Would the two make beautiful music together? In the weeks and months prior to the album's release, the jazz jury was out.

But the album revealed hitherto hidden depths in Metheny, as he tore through a 48-minute set of Coleman tunes and co-compositions with a vigor and inventive genius each shoulder to shoulder with the saxophonist. The 13-minute thrash-with-brains "Endangered Species" is still a body punch of Mike Tyson proportions, but one that leaves you elated as well as wrung out. Metheny and Coleman both are just burning. Nothing in Metheny's previous recorded work had suggested he was capable of degrees of abandon and ferocity like this. "Song X" is almost as titanic. At other times, as on "Kathelin Gray" and "Trigonometry," there is fragility and exquisite delicacy.

The 20th Anniversary edition includes 6 new tracks, excluded from the original LP as they would have bust that format's maximum playing time. They are, astonishingly and wonderfully, as strong as the previously released tracks, and as if to emphasise that, Metheny programmed them to start the 20th Anniversary edition. (The original album begins with track 7, "Song X.") Intriguingly and rewardingly, two tunes, "Police People" and "The Good Life," have changes, written by Metheny, serving as bases for improvisation. Coleman negotiates these, for him, unfamiliar parameters with aplomb, his lines following their own intuitive logic without any apparent restraint. The sound on the 20th Anniversary edition is richer and has more presence—but, to these ears, Metheny is still too low in the mix. Coleman's piercing tone commands the ear in the many dual improvisations on the album, and you often have consciously to tune Coleman out in order to hear the detail of what Metheny's doing. That's the only quibble, and maybe it can be addressed on a future edition—for certainly, Song X will be working its mojo for many years yet.

W 2005 roku mija dwadzieścia lat od premiery płyty Song X Pata Metheny i Ornette Colemana. Z tej okazji firma Nonesuch przygotowała specjalną reedycję tego historycznego już albumu. Znajdziemy tutaj zarówno osiem kompozycji autorstwa Matheny i Colemana, które ukazały się na pierwotnej wersji Song X, jak i sześć wcześniej niepublikowanych nagrań pochodzących z tej samej sesji nagraniowej. Wśród specjalnych gości pojawiają się tacy muzycy jak basista basista Charlie Haden, perkusista Jack DeJohnette, czy Denardo Colemana, syna Ornette'a. Całość, mimo upływu lat, brzmi niezwykle świeżo i nie utraciła ani kropli swojej muzycznej intensywności. Nowa wersja płyty została wyprodukowana przez samego Pata Metheny'ego w ramach zapowiadanych przez Nonesuch reedycji wszystkich najsłynniejszych albumów tego muzyka.

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DISC 1: LIVE AT OPEN THEATER EAST, TOKYO JAPAN, JULY 31, 1983 
1.	Coconut Bread (13:48) [Sonny Rollins]
2.	Don't Stop The Carnival (12:10) [Sonny Rollins]
3.	Mc Ghee (15:58) [Sonny Rollins]
4.	Moritat (13:13) [Kurt Weill, Bertold Brecht]

Pat Metheny - guitars
Sonny Rollins - tenor saxophone
Alphonso Johnson - bass
Jack DeJohnette – drums

DISC 2: LIVE AT RAVENNA JAZZ, RAVENNA ITALY, JULY 3, 1986 
1.	Broadway Blues (15:38) [Ornette Coleman]
2.	The Good Life (10:37) [Ornette Coleman]
3.	James (6:49) [Pat Metheny]
4.	The Calling (16:58) [Pat Metheny]
5.	Lonely Woman (6:41) [Horace Silver]

Pat Metheny - guitars
Charlie Haden - bass
Billy Higgins – drums

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01. Orchestrion 
02. Entry Point 
03. Expansion 
04. Soul Search 
05. Spirit of the Air

Personnel: 
Pat Metheny (guitar, piano, keyboards, vibraphone, marimba, drums, cymbals, percussion).

Pat Metheny's Orchestrion refers to a 19th century hybrid musical instrument of the same name that contained (usually) a wind orchestra, various percussion instruments, and sometimes a piano played by a pinned cylinder or a music roll -- like a player piano. Metheny designed and plays one here thanks to a commissioned group of inventors, advanced solenoid switch technology, and pneumatics. This invention includes pianos, marimbas, bells, basses, "guitarbots," percussion, cymbals, drums, loads of tuned bottles, and synth and fabricated acoustic instruments, played by Metheny triggering everything with his guitar.

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1. Guitar Improvisation
2. All the Things You Are
3. Move to the Groove
4. Sassy Samba
5. Arthurdoc

Musicians:
Albert Heath - Drums
Percy Heath - Bass
Jimmy Heath - Sax (Tenor)
Pat Metheny - Guitar, Composer, Guitar (Synthesizer)

This recording has been around an awful lot in various budget price guises, under the title "sassy samba" "complete move to the groove session" "live at Midem" and the whole concert on a 2 disc set called "luminescence" (this set has this disc plus a disc with BB ing and Dave Brubeck in poor quality live sound. Pat guests on 4 or 5 tracks with the Heath Bros so the inclusion of his name in bold letters on the sleeve are highly misleading and put there just to try and sell copies. He only gets a couple of brief solos really. If you must buy this for completeness sake get this version as it is the cheapest around at the moment. ---zargb5, amazon.com

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1. New Year 	
2. Roofdogs 	
3. Come and See 	
4. This Belongs to You 	
5. Leaving Town 	
6. Interval Waltz 	
7. Signals (Orchestrion Sketch) 	
8. Then and Now 	
9. Breakdealer

Personnel
    Pat Metheny - electric and acoustic guitars, guitar synth, orchestrionics
    Chris Potter - tenor sax, bass clarinet, soprano sax
    Ben Williams - acoustic bass
    Antonio Sánchez – drums

On Unity Band, Pat Metheny reveals that he can look in two directions at once. The group he's assembled here is an all-star ensemble. Drummer Antonio Sanchez has been with him for a decade, while double bassist Ben Williams makes his first appearance with the guitarist, as does tenor saxophonist Chris Potter (whose soprano and bass clarinet playing are on display, too). Metheny makes full use of this ensemble's possibilities. That said, he looks back through his catalog and composes for this band from some of the information gleaned there. One can recall the swirling melodic euphoria of the Pat Metheny Group in the guitar and guitar-synth interplay in "Roofdogs." On the ingenious "Come and See," Metheny's many-stringed Picasso guitar meets Potter's bass clarinet to create a tonal inquiry before Williams and Sanchez establish a deep blue groove. When Potter adds his tenor and Metheny his electric, we get a Latinized swinging pulse that is ever so slightly reminiscent of the 80/81 band with Michael Brecker and Dewey Redman (this isn't the only place that happens here). Fans of Metheny's more abundantly lyrical side will appreciate the breezy sway of "Leaving Town," though its melody -- twinned by his guitar and Potter -- is full of compelling tight turns, before the rhythm section evokes a deep, swinging blues and the guitarist gets refreshingly funky in his solo. On "Signals" Metheny uses his Orchestrion and guitar with live loops; the band employs live loops throughout the intro on top. Potter's tenor solo is emotive, grainy, and reaching, while the atmosphere recalls -- only generally -- the album the guitarist cut with Steve Reich. The nocturnal, smoky "Then and Now" has a torch ballad quality due to Potter's utterly songlike solo. Set closer "Breakdealer" begins at the boiling point and gets hotter. The title hints at what Sanchez does throughout the tune while pushing forward, but Williams not only keeps up, he adds propulsive shades of his own and rocks the arpeggiated changes fluidly. Metheny and Potter are free to sprint and they do; both dazzle with their lyric invention and knotty, imaginative, nearly boppish solos. The two front-line players are surely at their best in one another's company on the date; you expect them to be. Yet it's the rhythm section that astonishes thoroughly. Their interplay is not only intuitive, it's informative; it points to new corners for Metheny and Potter to explore. Given the guitarist's more compositional solo experiments of the last few years -- all of which have been very satisfying -- Unity Band is a return to what he does best: composing for, and playing with, a band of top-shelf players. --- Thom Jurek, Rovi

Pat Metheny znów zaskakuje. Legenda jazzu po raz pierwszy od ponad 30 lat powróciła do nagrywania utworów mniej tradycyjnych, przewidywalnych, z saksofonem obecnym na całej płycie! Na albumie "Unity Band" Pat prezentuje też swój nowy zespół. Saksofonista tenorowy i sopranowy oraz klarnecista basowy Chris Potter, perkusista Antonio Sanchez oraz basista Ben Williams - to trójka muzyków, którzy towarzyszyli Metheny'emu w studiu podczas nagrywania dziewięciu kompozycji na album "Unity Band". Wszystkie napisał Pat. W jednym z utworów, "Signals", lider zespołu zagrał na orkestronie.

"Z wielu punktów widzenia patrząc, moje zespoły stanowiły alternatywę dla bardziej konwencjonalnego podejścia do jazzu, które prezentowałem" - mówi Metheny, nawiązując do formacji, w których grali niezapomniani Dewey Redman czy Michael Brecker. "To, że kolejny zespół zebrałem po ponad 30 latach, dowodzi jedynie tego, jak bardzo mocno to alternatywne myślenie tkwiło we mnie". Pat sądził, że odkąd nie ma już wśród nas Deweya i Michaela nie uda mu się zebrać równie doskonałych muzyków. Z błędu wyprowadził go najpierw Chris Potter. Potem obaj panowie zagrali na albumie Antonia Sancheza i wtedy coś zaskoczyło. "Dostrzegłem niemal natychmiast, że mamy ten naturalny sposób grania i frazowania oraz sugerowania sobie rozwiązań. Zacząłem myśleć o zbudowaniu wokół tych ludzi zespołu". Ostatnim elementem układanki został Ben Williams. Pat poznał go dzięki Christianowi McBride'owi na jednym z organizowanych przez niego eventów w słynnej nowojorskiej szkole Julliard. "Jego gra od razu do mnie przemówiła" - wspomina.

Dziewięć doskonałych kompozycji na "Unity Band" nagrano w Avatar Studios w Nowym Jorku. Produkcją zajął się Pat Metheny, wspomagany przez Steve'a Rodby'ego. Za nagrania odpowiadał James Farber. --- merlin.pl

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A1 	Watercolors 	6:28
A2 	Icefire 	6:07
A3 	Oasis 	4:02
A4 	Lakes 	4:43
B1 	River Quay 	4:56
	Suite 	
B2a 	I. Florida Greeting Song 	2:30
B2b 	Il. Legend Of The Fountain 	2:28
B3 	Sea Song 	10:16

Bass – Eberhard Weber
Composed By – Pat Metheny
Drums – Dan Gottlieb
Guitar, Twelve-String Guitar, Guitar [15-string Harpguitar] – Pat Metheny
Piano – Lyle Mays 

Pat Metheny emerges on his second album, Watercolors, as an ECM impressionist, generally conforming to the label's overall sound while still asserting his own personality. As the title suggests, there are several mood pieces here that are suspended in the air without rhythmic underpinning, a harbinger for the new age invasion still in the future. Metheny's softly focused, asymmetrical guitar style, with echoes of apparent influences as disparate as Jim Hall, George Benson, Jerry Garcia, and various country guitarists, is quite distinctive even at this early juncture. Metheny's long-running partnership with keyboardist Lyle Mays also begins here, with Mays mostly on acoustic piano but also providing a few mild synthesizer washes. Danny Gottlieb is on drums, and ECM regular Eberhard Weber handles the bass. This is essentially the first album by the Pat Metheny Group per se, although the band had yet to find its direction in this somewhat diffuse showing. ---Richard S. Ginell, allmusic.com

Kariera Pata Metheny`ego jest pasmem sukcesów artystycznych, a w latach 80. i 90. również komercyjnych, kiedy Pat Metheny Group grała w wypełnionych halach koncertowych na całym świecie.

Pierwsze sukcesy odniósł nagrywając dla wytwórni ECM Records, która w kolejnej serii wznowień Touchstones wydała drugi jego autorski album ze swojego katalogu "Watercolors". Po debiutanckiej płycie "Bright Size Life" (1976) nagranej z Jaco Pastoriousem i Bobem Mosesem, Pat Metheny utworzył kwartet, który dał zaczyn Pat Methent Group.Rozpoczął współpracę z pianistą Lyle`em Maysem i perkusistą Danem Gottliebem, a Manfred Eicher podsunął mu niemieckiego kontrabasistę Eberharda Webera.

Melodyjne kompozycje Pata i jego pasjonujące solówki po latach nic nie straciły na wartości. Młody gitarzysta improwizuje z pasją, a wtórują mu romantyczne akordy fortepianu. Śpiewny ton kontrabasu i nasycona czynelami gra Gottlieba dopełniły niepowtarzalne brzmienie, które w 1977 r. było sensacją. Szkoda tylko, że Eicher nie przykładał się wtedy do zapisu nagrań, bowiem chciałoby się usłyszeć je dziś w zremasterowanej, wysokiej jakości. ---Marek Dusza, audio.com.pl

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1. The Sound of Silence (Paul Simon) 6:33
2. Cherish (Terry Kirkman) 5:25		play
3. Alfie (Burt Bacharach & Hal David) 7:41
4. Pipeline (Bob Spickard & Brian Carman) 3:23
5. Garota de Ipanema (Antonio Carlos Jobim & Vinicius de Moraes) 5:07
6. Rainy Days and Mondays (Roger S. Nichols & Paul H. Williams) 7:10
7. That’s the Way I’ve Always Heard It Should Be (Carly Simon & Jacob Brackman) 5:57
8. Slow Hot Wind (Henry Mancini & Normal Gimbel) 4:23
9. Betcha by Golly, Wow (Thomas Bell & Linda Creed) 5:12
10. And I Love Her (John Lennon & Paul McCartney) 4:22	play

Personnel: 
Pat Metheny: baritone guitar (2, 3, 5-9), 42-string Pikasso guitar (1),
 6-string guitar (4), nylon-string guitar (10)

The jazz tradition has long taken pop songs, reimagined and reinvented them harmonically and rhythmically and re-presented them as vehicles for improvisation. Pat Metheny has done something different on What's It All About, his second Nashville-tuned baritone acoustic guitar record (with a handful of other acoustic instruments and no overdubs, but there are edits). Here he performs ten pop songs that have long been part of his personal arcana and recorded them so that we might hear what's inside these songs -- as songs. Recorded on a single day in February of 2011, Metheny interprets well-known songs by Paul Simon, Antonio Carlos Jobim, Lennon & McCartney, Henry Mancini, the Ventures, Burt Bacharach, Paul Williams, Terry Kirkman, Carly Simon, Thom Bell, and others across the pop spectrum. His approach is deliberate; his interest here is in the subtlety of melody; its nuance, suggestion, and mystery; he finds the places he hears inside the music before these songs even begin, or just after they end, through a unique series of tunings he employs between A-flat and C. "The Sound of Silence" opens the set by suggesting the tones of a Japanese koto in its intro (courtesy of his 42-string Pikasso guitar). When the melody commences, its languorous richness and rhythmic balance are so perfect, we hear it not only as the pop song we remember by Simon & Garfunkel, but as a lyric invention that is almost magical in its possibility. The version of Kirkman's "Cherish" (a big hit by the Association), is equally profound. He finds the space where the human voice inserts itself in the harmonic structure and opens it with his guitar. There is slightly more improvisation in "Alfie," but it's open, spacious, and full of hinted-at dimensions in the crafting of the song's parameters. "Girl from Ipanema," played as discovers suggestions of other -- darker and moodier -- melodies inside it. He pulls out both the implied elegance in "That's the Way I've Always Heard It Should Be," and the quietly majestic variety of it in "Rainy Days and Mondays." "Betcha by Golly, Wow" stands as a revelation: its truly inventive harmonies and jazz syncopations are -- and one suspects they always have been -- inherent in the tune's basic architecture. In closer "And I Love Her" are the direct implications of bossa that Lennon and McCartney had no doubt taken note of at the time. Ultimately, What's It All About is an intimate work revealing Metheny's investigation of composition itself. The notion of song is inherent in everything he does, and he reveals that inspiration in spades here. ---Thom Jurek

Pat Metheny has released plenty of solo albums over the years, but One Quiet Night (Nonesuch, 2003) found him turning to a different modus operandi, imposing a series of restrictions: one guitar, one tuning, no overdubs. An intimate album of mostly original material, beyond three covers including Keith Jarrett's "My Song" and Gerry & the Pacemakers' hit, "Ferry Cross the Mersey," One Quiet Night was a more intimate and immediate alternative to his production-heavy Pat Metheny Group releases, and recent solo records like the ambitious Orchestrion (Nonesuch, 2010). What's It All About continues the M.O., but introduces a few changes to the mix. First, while Metheny's rich, low Nashville-tuned baritone acoustic guitar dominates the set, he does employ a handful of other acoustic instruments this time around, in particular his massive 42-string Pikasso guitar on the opener, an exploratory look at Simon & Garfunkel's massive hit, "The Sound of Silence." Metheny always confounds the ear with his apparent ease at coaxing a variety of tones and textures from this instrument that, for most, would be impossibly unwieldy. Tuned specifically around the song's harmonic center, Metheny is able to create a rich weave, combining occasional bass lines with strummed open strings and a Gu Zheng-like frontline melody. As ever with Metheny, melody is paramount, as is respect for the song, even as he expands it to nearly seven minutes, occasionally finding his way to relatively simple vamps that act as links between the more familiar themes. Metheny also uses a standard six-string acoustic guitar for his surprising and energetic version of The Ventures' "Pipeline," combining with the hit song's memorable surf-bass line with his penchant for rapid chordal strumming—reverence combined with irreverence. He turns to his nylon-string guitar—a particularly lovely choice—on The Beatles' closer, "And I Love Her," where a gentle Latin rhythm masks the guitarist's ever-impressive sleight-of-hand, with his in-the-moment choices creating an unmistakable feeling of overdubbed self-accompaniment, despite there being none. Another change from One Quiet Night is Metheny's choice of material, this time eschewing original material and, instead, culling from the wealth of hit songs that the guitarist grew up to in the 1960s, that were, as he explains, ..."on my radar before I ever wrote a note of my own, or in a few cases, even before I played an instrument." The Associations' iconic "Cherish" is delivered reasonably reverently, though he gives it a (not surprisingly) Midwestern sheen, while Burt Bacharach/Hal David's smash, "Alfie," is taken ever-so-slightly out through Metheny's reharmonization—skewed, without ever losing sight of its intrinsic melodism. But the highlight of What's It All About is Metheny's uncharacteristic look at Antonio Carlos Jobim's enduring "Garota (Girl) de Ipanema"—a rubato tone poem suggesting something much darker and dangerous than the breezy ambiance of most versions. With What's It All About, Metheny's ability to think outside the box never comes at the expense of losing sight of it, making music that's easy and accessible, but with deeper layers simmering just beneath its calm surface. ---John Kelman

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01 North to South, East to West
02 Song For the Boys
03 Improvisation on the Picasso Guitar
04 Waltz For Ruth
05 Our Spanish Love Song
06 First Song
07 The Moon is a Harsh Mistress
08 Message to a Friend
09 The Precious Jewel
10 Two For the Road
11 He\'s Gone Away
12 Blues For Pat
13 Cinema Paradiso

Musicians:
Pat Metheny - guitars, 42-string guitar
Charlie Haden - acoustic bass

2003.05.07
Burghausen, Germany
Wackerhalle
Internationale Jazzwoche Burghausen

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1. In France They Kiss On Main Street
2. Edith And The King Pin
3. Coyote			play
4. Free Man In Paris
5. Goodbye Pork Pie Hat
6. Jaco's Solo
7. The High And The Mighty
8. Third Stone From The Sun
9. Dry Cleaner From Des Moines
10. Amelia
11. Hejira
12. Black Crow
13. Furry Sings The Blues	play
14. Raised On Robbery
15. Why Do Fools Fall In Love
16. Shadows And Lights

Line-Up:
Joni Mitchell - electric guitar, vocals
Pat Metheny - lead guitar
Jaco Pastorius - bass
Don Alias - drums
Lyle Mays - keyboards
Michael Brecker - saxophone
The Persuasions - backing vocals 

Joni Mitchell's 1970s and '80s forays into jazzier territory may have distressed her folkie faithful, but they also resulted in some uncompromising, challenging, and, yes, entertaining music. Witness this 73-minute document from her '79 tour, which finds her backed by her greatest band ever, including guitarist Pat Metheny and the extraordinary bassist Jaco Pastorius, as well as Metheny cohort Lyle Mays (keyboards), Michael Brecker (sax), and Don Alias (drums). Mitchell's The Hissing of Summer Lawns-Hejira-Mingus period is heavily favored; there are two tunes from Court and Spark, but nothing earlier. It's not perfect--the film clips edited into the live tracks (at Mitchell's direction) are an annoying distraction (Rebel Without a Cause? Huh?). But by the time Mitchell, Mays, and vocal group the Persuasions finish a spine-tingling version of the title song, you'll have witnessed something special--and historic, as this was the only time this stellar crew toured together. --Sam Graham

Although this incredible live unit never recorded a proper studio album we do have this as a reminder of just what is possible. Joni the folkie briefly became Ms. Mitchell the jazz singer, supported by the formidable talents of Pat Metheny, Lyle Mays, Jaco Pastorius, Michael Brecker and Don Alias. Many of Mitchell's jazz flirtations are given the full treatment with musicians who understood both her and the genre. It is a staggering marriage of talents and wholly successful. There are even obligatory bonus solos from Pat and Don. They should have stayed together for at least another album.

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01-Slings and Arrows
02-Half Past Late
03-Timeline
04-Into The Dream
05-Extradition
06-Summertime
07-As I Am
08-What Do You Want
09-Everyday (I Thank You)
10-Faith Healer
11-Song For Bilbao

Michael Brecker: Tenor
Pat Metheny: Guitar
Larry Goldings: Organ
Bill Stewart: Drums

Recorded live on July 3, 2000 at Tollhaus, Karlsruhe, Germany.

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