Road To The Sun ［2LP+CD+Book］＜限定盤＞

Pat Methenys nearly 50-year career has always balanced the tension between two developmental poles: refining and expanding the technical and aesthetic reaches of his virtuosic yet lushly romantic voice on the guitar, and constructing a sprawling, ever-evolving compositional language that melds harmonic and rhythmic sophistication with approachability, steely honesty, and cinematic drama. Road to the Sun, Methenys debut offering for BMGs Modern Music imprint, marks the guitarist/composers first deep dive into composing classical music for the guitar. The set consists of two long suites. The first half is devoted to the four-movement Four Paths of Light, written for and performed by Grammy-winning classical guitar sensation Jason Vieaux, whose recordings embrace the classical guitar canon but also expand it to include modernists such as Astor Piazzolla, Baden Powell, and Ernst Mahle. (In 2005, Vieaux released Images of Metheny, on which he re-arranged the jazzmans compositions for solo classical guitar.) As a whole, Four Paths of Light doesnt recall much of Methenys other music. The highly arpeggiated first and fourth movements criss-cross flamenco, choro, samba, and post-Romantic classical etudes without ever revealing a dominant form. The languid second movement is more sparse and spacious; its the one section in the work pregnant with Methenys assonant harmonic sensibilities; in fact, at least one motif can be traced back to 1979s New Chautauqua. The six-movement title suite was composed for and performed by the Los Angeles Guitar Quartet, comprising John Dearman, William Kanengiser, Scott Tennant, and Matthew Greif. Their signature, too, is one of crossover. Their concerts and recordings engage everything from classical, flamenco, and swing to bluegrass flatpicking, rockabilly, and even death metal. As a whole, this work is driven by their robust chromatic and rhythmic interplay, joining the classical impressionism of Debussy and Ravel to Django Reinhardts finger-popping approach in wedding Eastern European folk music to jazz. The call-and-response element is episodic in the first movement, at once hypnotic and beguiling. It reflects the influence of canonical classical composers such as Francisco Tarrega or Federico Moreno Torroba, before a sprightly Brazilian schema enters (think Cesar Guerra-Peixes late work, or perhaps, Moacir Santos Coisas) before deft flamenco rhythms and sharp-edged arpeggios suddenly appear to seamlessly morph into pastoral vignettes. Part four is constructed of interlocking guitar glissandi floating through minor and augmented key signatures before woody physical percussion and descending scraped strings introduce a feeling of disorientation and dislocation. In the fifth movement, Methenys hyperkinetic strumming joins the quartets. His tone is unmistakable as he coaxes euphoric jazz -- complete with bent strings, tight arpeggios, and expanded tonalities -- to emerge from folk and pop harmonies amid fluid rhythmic contrapuntal exchanges with the quartet. The set-closer is a solo reading of Arvo Parts piano piece Fur Alina, played solo by Metheny on the 42-string, multi-neck Pikasso I guitar. Its spacious drama, tri-tone melodic structure, and elegant drones are somber and resonant. Road to the Sun showcases Methenys developed musical hallmarks in compelling new and bravely wrought compositions, expertly performed by kindred spirits and modern masters. ~ Thom Jurek