Send "Pat Metheny " Ringtones to your Cell 
| Rollingstones |
 Guitarist Pat Metheny doesn't make enough records in a trio setting. And the few so far have been short-term stands: the perfectly titled Bright Size Life (1976), with bassist Jaco Pastorius and drummer Bob Moses; later dates with major elders like bassists Charlie Haden and Dave Holland and drummer Roy Haynes; Metheny's 2000 band with Bill Stewart and Larry Grenadier. Day Trip is Metheny's first record with bassist Christian McBride and drummer Antonio Sanchez, and it should not be the last. McBride and Sanchez are jazzmen with R&B and rock bones, the former combining a fluid touch with assertive momentum, punching counter-rhythms between Sanchez's snare-and-tom exclamations. In "The Red One," McBride and Sanchez push hard in funk and reggae time, forcing Metheny to throw dirt on his tone and attack. Metheny thrives in a trio format — the space suits his spiraling runs and the afterring in his pointed electric sound — and he responds here with excited improvising in the hypersamba "Son of Thirteen" and the vintage-Wes Montgomery stroll of "Calvin's Keys." An exception: "Is This America? (Katrina 2005)," a subdued but emphatic challenge that needs no words to make its point....full text |
| Bbc |
| This new album finds guitarist Pat Metheny on solid ground. You know exactly where you are from the opening bars of Son Of Thirteen. It's a typical post-bop theme with a vaguely Latin feel and it kicks off an album that follows the classic jazz trio format. Metheny hooks up with his regular partners, Christian McBride on double bass and Antonio Sanchez on drums. As you'd expect for musicians who have played hundreds of dates together they're very comfortable in each other's company, with McBride really shining throughout. The music is slick and relaxed and Metheny's playing is inventive with a light, bright tone. Let's Move is uptempo and tough while At Last You're Here, Snova and Dreaming Trees are more reflective. Taken as a whole the album is a perfectly pleasant, and that's the problem. You can't deny Metheny's technical prowess but his tone can be bland and cloying in places. He still can't resist the temptation of turning on the horrible guitar synthesiser half way through When We Were Free just when it was shaping up to be one of the album's best tracks. Meanwhile Calvin's Keys tries for a classic jazz shuffle but is too loose and fluffy to swing as hard as it should....full text |
| Allaboutjazz |
| It's way too early in the New Year to be making sensible predictions, but hey, let's drive in the center of the road for a moment: if guitarist Pat Metheny's Day Trip doesn't end up amongst the top half-dozen albums of 2008, some very powerful voodoo indeed must be coming round the corner. Day Trip is, unquestionably, amongst Metheny's best ever discs, up there with previous masterpieces like Song X (Nonesuch, 1985), made with saxophonist Ornette Coleman, and Trio 99-00 (Warner Bros, 1999), whose guitar/bass/drums line-up and in-the-tradition aesthetic it replicates. It's gorgeous, shimmering, voluptuous music, gloriously free of the fusion excesses which have marred many of Metheny's projects with larger line-ups. The album was recorded at New York's Right Track studio in a single day in October 2005, between gigs, with bassist Christian McBride and drummer Antonio Sanchez. A loose, heads and solos, tune-up-and-go feel permeates the session, on which Metheny proves that he is, when he chooses to be, today's most gifted practitioner of the flowing, consummately lyrical style of guitar playing forged by Johnny Smith in the 1950s....full text |
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