Back in the 1970s, when jazz was actually popular among the masses, each record label had a certain sound and feel. CTI, started by Creed Taylor, came up with the concept of mixing “classic” jazz with rich and luscious strings, not to serve as background music, but to be an integral part of the tapestry of each song. It resulted in albums by George Benson, Ron Carter, Stanley Turrentine and Milt Jackson that still sound timeless.
Guitarist Pat Metheny has taken that concept, and with his own orchestral arranging skills as well as those of Alan Broadbent and Gil Goldstein, has put together a sonic tapestry that is gorgeously sweeping in sound and dynamic in delivery. He’s still with his core unit of drummer Antonio Sanchez, bassist Linda May Han Oh and pianist Gwilym Simcock, and each of the pieces sound “live” and able to hold up on their own for the most part, but on material such as the opening “America Undefined”, the Hollywood Studio Symphonhy is an integral part of the journey, adding muscle and leading the way to the rich and undulating closing climax. The swings dramatically flow in on “You Are” with tender soloing by Metheny and Simcock, and create soft pastels on the Debussyesque “Love May Take Awhile” while creating a rich fragrance for Oh’s solo on “Same River” and nudging her on “Sixty Six”. Other times they lurk in the background and frame Metheny’s gorgeous work on “Far and Wide” or the rocking teamwork between the leader and Sanchez during “Everything Explained”. There’s also a guest appearance by harmonica master Gregoire Maret on the thoughtful ballad “The Past Is In Us” as well as reflective lyrics by Meshell Ndegeocell for the contemplative title piece, with Metheny serving each song with the taste of a master painter, using brushes thick or narrow as the mood deserves. While the mix of jazz and orchestra may harken to the days of Don Sebesky, the album stands up on its own as and points forward while only glancing backwards.