This album shouldn't work. One superb artist recording the music of another usually happens many years after the subject has passed away. But John Pizzarelli's new album, Better Days Ahead: Solo Guitar Takes on Pat Metheny, works with tremendous success. It's as if John said to himself, "Why not?" And he's right. The idea of taking on Metheny's compositions and doing so solo is about as beautiful a tribute as one can imagine. Add the fact that John is a monster guitarist and you have an album that is pure splendor.
Metheny, of course, has always been a fascinating mix of styles and influences. Best known for his post-fusion albums Letter From Home, Still Life (Talking), Imaginary Day, Speaking of Now and The Way Up, the guitarist spent his early years listening to Wes Montgomery before heeding Ornette Coleman's musical call on his late 1960s albums to stand out by exploring new territory. Metheny lived in Brazil in the 1970s, a rhythmic and melodic experience that rubbed off. But you can also hear Joni Mitchell, James Taylor and many other Laurel Canyon singer-songwriters in the sailing quality of his music as well as rock influences. No wonder Metheny has 20 Grammys and is the only artist to have won Grammys in 10 different categories. [Photo above of Pat Metheny courtesy of Pat Metheny]
John Pizzarelli captures all of the poetry and moodiness of Metheny's music, from the smooth-jazz introspection to the samba-jazz fusion. But these aren't covers, per se. John interprets the music with the same textured mindset as Metheny. He understands Metheny's adventuresome passion and the complex chord voicings, contrapuntal tones and figures that make Metheny so special. In other words, he hears what Metheny heard when recording them. Best of all, John is gentle and lyrical and able to work inside the music with his electrified acoustic guitar, allowing the songs to breathe and flare. John chose Better Days Ahead, Spring Ain't Here, April Wind/Phase Dance, September Fifteenth, James, Antonia, (It's Just) Talk, Letter From Home, If I Could, Last Train Home, From This Place, The Bat and Farmer's Trust. [Photo above of John Pizzarelli courtesy of John Pizzarelli]
For me, Metheny (and John's interpretations) are transporting. I don't know why, but Metheny's songs have always reminded me of my college years in Boston. I'm not sure why, since I was there 10 years before Metheny's '80s albums. In John's hands, the music also makes me feel wistful, as if the semester is about to start and I have to head off to the bookstore.
Perhaps it's the music's mellow ease and ambition all rolled into one expression or John's brilliant channeling of Metheny's eager storytelling style. All I know is that after listening to the album for the 10th time yesterday, I had an urge to walk Boston's Commonwealth Avenue and hook into the Back Bay section to Charles Street and Beacon Hill. John's new album is precious and will certainly hit you in interesting places. And it's great to hear that Metheny's catalog still has legs so many years later.
JazzWax tracks: You'll find John Pizzarelli's Better Days Ahead: Solo Guitar Takes on Pat Metheny (Ghostlight) here.
JazzWax clips: Here's John Pizzarelli playing Better Days Ahead...
Here's Antonia...
And here's Spring Ain't Here...