One Quiet Night was indeed recorded during one evening at Pat's home studio. From the liner notes:
- On November 24, 2001, I went to my home studio, turned on the recorder, and spent the evening playing. I had rediscovered a special low Nashville tuning that I had worked with many years ago (on the tune "The Search") and applied it to a recently acquired baritone guitar. The combination of this wonderful new instrument (made by canadian luthier Linda Manzer) and this unusual tuning not only made some different things possible harmonically, but challenged me to think about ways of playing that i wouldn't have normally thought to go. I found and settled into a very specific mood of simple, mostly quiet playing, really just for myself. Listening back to that recording over the next year of touring, I realized that i had inadvertently started on the road to doing something that had been lingering in the back of my mind for awhile - to one day think about making a whole record with one single guitar, no overdubs or extra parts; to do a totally solo acoustic guitar record - in this case, on the baritone guitar.
Late last year Pat filled out the set by recording a few of his favorite songs ("My Song" and "Ferry Cross The Mersey"), a cover of Norah Jones' "Don't Know Why", a couple of new tunes ("Song For The Boys" and "Over On 4th Street") and finally, a new version of his own "Last Train Home".
To call this record "New Chautauqua II" is to do a disservice to both recordings. While there are certainly elements of New Chautauqua here, One Quiet Night is more focused, more intent...on developing that singular mood. It's very pretty...but somehow manages to be quite intense at the same time. As with all of Pat's records, it'll take a while before the "whole" reveals itself.
And that's what I love about music like this. It's a little like poetry, except that it's a distillation of a musical idea...and every time I "read" it, a new thought surfaces.
(First posted on Mark Is Cranky)
Article comments
1 - Tom Johnson
I have been an on-and-off fan of Metheny's over the years, prefering his more straight-ahead albums to the airy, more divergent ones (it's simply personal taste) and wondered which vein this album would go in. Thanks to your review, I'll probably go pick up a copy soon . . .
2 - cephusj
I love Pat Metheny and feel hes very underrated in the industry (of course as are many others).
3 - Donna Hamilton
I had heard several scores from Pat Metheny at times, and until now, his music hadn't grabbed me. Then lately on my drives through the country-side I heard 'Chris' from the soundtrack recording of The Falcon and the Snowman being played. I finally woke up to his music. I was able to hear a sample of his new release and - it's so good. Plan on staying up late to hear his concert recordings this late Friday early Saturday morning.
4 - bill boyd
hi - this is my first posting and i have been a huge pat metheny fan and have all of music
and
i find that i am not as thrilled with his latest albums including this all alone with the guitar
i find i like the earlier material and find that there are many artists that i love - i love only the early years - not sure of what happens only that the early stuff feels fresher - more daring and more fun to listen to.
anyone else have this love them until they get old syndrome?
for me - i strongly prefer & collect:
early miles davis
(pre bitches brew)
early john coltrane
(pre multi drummers and pharoh sanders)
early ahmad jamal
early mc coy tyner
early bill evans
early sonny rollins
(pre bridge)
early stanley clarke
my favorite pat metheny in no order
off ramp
pat metheny group (1st album)
(i still remember where i was when i first heard it - i had to stop the car and go get it the next day)
still life talking
we live here
first circle
as falls wichita, so falls wichita falls
last train home
missouri sky (with charlie)
sorry to go on so long for a first posting
i like the idea of a community of folks dedicated to searching out new and exciting (personal and spontaneous definitions)
i enjoyed the tone of your comments
to be continued ...
bill boyd - ventura - california
5 - John
Metheney:
Decent...but as a jazz guitarist myself for 20+ years, he's not the 'icon' some portray him as.
His 'rock-star-pretty-boy' looks, and his
"underwater guitar sound", (as my ex-teacher put it) have got him quite far in this materialistic society, though.
But the simplistic, modal compositions...come on...enough already.
There are so many better Jazz guitarists that don't receive equal mention that it's really sad. (I mean literally scores! But let's start with one: Joe Diorio...check him out) And Scofield's 'signature sound' makes me puke!As does Mike Stern's!
I'd love to hear then without the 'cover up.'
But that's the Music Biz!
And that's why I'll always hate it!
But I'll always love the music!!!
6 - Mark Saleski
we can agree to disagree.
i think Joe Diorio is great too, and Joe Pass & Howard Roberts & James Blood Ulmer & Bruce Eisenbeil....
but you lost me with the 'pretty boy looks' comment. if you read any interviews with Metheny, he's a pretty serious guy and is fully devoted to the music. there's no pretention there.
and there's plenty more to what he's done than just modal compositions (you've just stopped listening).
plus, he really lit into Kenny G.
7 - ClubhouseCancer
Mark, I assume you are familar with Richard Thompson's "I Agree with Pat Metheny," a hilarious little ditty that's available free on his website.
I agree with Pat Metheny
Kenny's talents arte too teeny...
I like the folkier, Americana, Frisellier stuff of Metheny's (because I'm simple-minded), and I love solo meditative things (because I'm simple-minded) so I think I'll try this one. Thanks to Mark for bringing it to our attention.
8 - Mark Saleski
yep, that's a hilarious tune.
it's funny, you read about stuff like Metheny going off on the Kenny G/Armstrong thing and think that mostly if goes underneath most everybody's radar.
...and then you hear about the Richard Thompson thing.