Pat Metheny
I've been thinking that I should include some more jazz guitarists, because there are certainly plenty of them who are very impressive musicians. But I really don't have a lot of acquaintance with their work, which is because I don't listen to jazz guitar all that much, which is because I don't really respond to it the way I do many other forms of guitar music. That's partly because jazz guitarists typically use a very clean and pure tone, and when it comes to electric guitar I like the dirty and sustained tones that rock and blues players tend to use. To my ears, the typical jazz guitar tone is just less expressive than that of either a purely acoustic guitar or a noised-up electric.
But more importantly, I frequently don't grasp what's going on musically in jazz. I don't have much technical knowledge of music, and I can't describe in musical terms what's involved in, say, Mark Knopfler's famous "Sultans of Swing" lead, but I respond to it. I can on some level feel, if not articulate, the connection of what he's playing to the fundamental structure of the song. But much jazz has a more subtle and complex harmonic structure, and less elemental appeal, and requires a better ear and more knowledge than I have to be really appreciated.
Such were my thoughts over the past few days as, having decided to feature Pat Metheny this week, I looked around for a few things to post. He has a huge body of recorded work, and I've only heard a few bits of it. I sampled a number of jazz tracks, but there weren't many that really grabbed me. Perhaps if I listened to them more…but I didn't have time. I knew, though, that I would use the title track from one of the two or three Metheny albums I own, New Chautauqua, from 1979. It's not very typical of his work from the '70s, being all acoustic, and all multi-tracked Metheny, and not really jazz at all. I don't know what genre to call it, but I really like it.
Another Metheny album that I own, and like a lot, is 1980's As Falls Wichita, So Falls Wichita Falls. It's not, strictly speaking, a Pat Metheny album, but a collaboration with keyboardist Lyle Mays, and is really more a keyboard and group album than a guitar album. But roughly the last half of "It's For You" features a really fine guitar solo.
It occurs to me that the title phrase will soon entirely lose the meaning it has for anyone who grew up before cell phones, when there was generally one telephone line and one telephone number per household. The phone rang, someone picked it up and said "Hello," and, if the caller wanted to speak to someone else, yelled "It's for you" to another person in the house. Already for some time the scenes in movies where someone in trouble searches desperately for a pay phone have seemed very dated.
And here's a good one from 1978's self-titled album by the Pat Metheny Group, also featuring Lyle Mays: "Phase Dance".
Light On Dark Water 
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