Day Trip
3 吉他谱
0 求谱
0 拨片
Day Trip专辑介绍
In its early stages, Day Trip seems to fall into some familiar postbop traps (too much technique, overwrought themes) but it soon settles into some jubilant improvising from all three, on the kind of bluesy grooves, Latin swingers and inviting ballads that suggest Wes Montgomery has returned to life and found the hippest 21st-century world-music partners he could. The hot, bluesy Calvin's Keys seems to be awaiting only Jimmy Smith's Hammond; Is This America? is an exquisitely simple acoustic country-guitar ballad that turns into a lilting drifter; Sanchez's sudden whiplash hits on the back of the bass-vamp opening When We Were Young border on terrifying surprises (not so different from the arrival of Metheny's whirling synth-guitar on the same piece); and the title track is a slinky Latin guitar-bop. Metheny's full of great improv ideas, and all three sound as if they are really enjoying themselves.
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.
Aside from that small question mark, Day Trip, overflowing with brio and melodicism, is a triumph.