1. Orchestrion
2. Entry Point
3. Expansion
4. Soul Search
5. Spirit of the Air
Pat Metheny - Guitar, piano, marimba, vibraphone, orchestra bells,
basses, guitarbots, percussion, cymbals, drums, blown bottles and
other custom-fabricated acoustic mechanical instruments, keyboard
The popular image of a one-man band is someone with a bass drum strapped
to their back, perhaps a pair of cymbals between their knees and a
harmonica fitted near their mouth. However, on this new album, guitarist
Pat Metheny acts as a one-man band by hooking himself up to a variety
of instruments by the wonders of technology. He calls the result an
orchestrion, which in earlier days meant a machine which made music
that sounded like a whole band.
As a child, Metheny was fascinated by his grandparents' player-piano,
which played music using cardboard piano rolls. He was intrigued by
the idea of producing an orchestral sound using mechanical means.
He commissioned a number of inventors and technicians to produce a
variety of devices to produce the different sounds of an orchestra,
which he could play by remote control.
One gets the vision of Metheny behaving like a child in a toyshop,
with so many playthings around him that he hardly knows which to choose.
As a result, he creates a wash of sound with his guitar at the centre.
The trouble is that there are so many interwoven sounds that there
is no clear line for the listener to follow. Pat's guitar seems to
be continually interrupted by other instruments clamouring for attention.
The overall sound often resembles that produced by the Pat Metheny
Group, but without the sharp focus that a band of musicians could
provide. At times it seems like a mixture of the Javanese gamelan
and Duke Ellington's Malletoba Spank (which clustered together
an assortment of percussion instruments). The sound can be mesmerising
but some of the tracks throw too many instruments into the mix to
maintain one's interest without strong melodies to hold onto.
This is certainly true of the opening title-track, which starts promisingly
with a soaring guitar theme which unfortunately becomes submerged
amid a welter of conflicting sounds. This track lasts for more than
15 minutes and outstays its welcome by simply being too cluttered.
Entry Point is more subdued but still can't quite fix on a
melody to carry the listener along. Instead the music seems to move
gradually upwards and then down again, before wandering around rather
aimlessly.
Expansion starts with a typical Metheny melody which may make
you feel more at home, with Pat displaying his guitar proficiency
and some punchy percussion thrusting the music along. Soul Search
is much gentler and has a wistful tune which is immediately appealing.
The orchestral textures are warmer and richer, too, making this a
very accessible track.
The final piece, Spirit of the Air, would be very pleasant
except for the repetitive ostinato at its base which seems
determined to drive a hole into your skull. Peace descends halfway
through the track, which then becomes more acceptable, aided by some
quicksilver guitar, although the riff returns to mar the ending.
So, all in all, this is a very patchy album which makes the concept
of the orchestrion seem as much of a gimmick as a musical advance.
In the sleeve-notes, Pat says, enthusing about the orchestrion: "If
nothing else, this has turned out to be something unique". On
the evidence of this CD, it seems an unduly complicated experiment
hardly worth repeating.
Tony Augarde
CD Reviews
Nonesuch 7559-79847-3
