As the track fades out, it leaves behind a trace of itself, a memento of years never forgotten. We think also of young love that, while unrequited, also gave us a brief taste of a life lived without obligation. Chord progressions roll off his fingers like change into eager hands at a lemonade stand, and we are reminded of those little moments of independence and security in which, from the merest clinking of coins, we came to assert our agency in a growing awareness of economy.
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Metheny captures this free spirit so clearly in his playing. It is our most formative season one in which we observe, live, and learn at our own pace. The only thing that seems real is the lack of definitive answers, the endless possibility that such freedom entails and which brings us closer to self-realization. “Airstream” feels undoubtedly like summer, a time of year when obligations melt in the heat along with our inhibitions. There is only the empty air, the cloudless sky, and the sun beating down upon our backs, as if to say: “You’ve still got miles to go.” But neither do we care, because there is an unbridled joy to the process of travel. But we also know that as soon as we pull over and step out of the car, there will be nothing to grasp, to hold close, to stow in the trunk or in the glove compartment of our desires. As the car speeds along its journey, we see our collective past just beyond the windshield, somehow within reach. The tone here is almost painfully nostalgic (all the more so for the album’s historicity), as if yearning for something that is only as real as its remembrance. There is a beautiful interplay between guitar and bass in the first track, swelling into a verdant wash of backwater splendor. Together, this quartet of talented musicians creates the ultimate musical road trip. With Dan Gottlieb’s proclamatory drums and Mark Egan’s sinuous bass in the back seat, we’re good to go. Metheny’s glistening guitar licks take the wheel, relishing the roar of Lyle Mays’s lively keyboard support under the hood.
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The album opens with a wide view of the open road, and we are in the passenger seat. Its virtuosic blend of jazz and roots rock evokes the heartland like no other and has withstood its own commercial success relatively unscathed. This album, the group’s second, took the Number 1 spot on the 1980 Billboard Jazz chart and spawned a legion of followers. With American Garage, the Pat Metheny Group solidified its signature sound. The title song is a rockin’ tribute to the 60’s bands that cut their teeth playing “Purple Haze” and “Light My Fire.” The final word on this album is that it is a must to have for anybody who thinks that jazz can’t rock!
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Listen to the dynamics and the melodic stories that Pat Metheny and Lyle Mays wrote for American Garage and you will have a good idea of many of the works that came later on. This collection still breathes the creative genius that the LP exuded years ago.
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Now, Many years later I decided to replace my vinyl copy with the digital cousin. When I received a copy of this album to review, I was floored by the creative writing and playing. In hindsight, some of the music seems a bit too tightly conceived to allow adequate breathing room, but this is still high-quality jazz-rock for its time. The nearly 13-minute "The Epic" finds the Metheny group developing some real combustion in the improvised sections as Metheny, keyboardist Lyle Mays, bassist Mark Egan and drummer Danny Gottlieb grow tighter as a unit. On the title track, Metheny digs in and displays some authoritative rock-oriented licks and intensity, and the rhythms on "The Search" have a slight, at times asymmetrical Latin feeling. The arrangements are more structured, the playing often more intense and searching, with a more pronounced rock influence.
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The back liner photo gives the impression of a grungy Midwestern garage band, but no, that doesn't describe this sophisticated jazz-rock quartet, which was simultaneously breaking into mass-market acceptance and away from the contemplative ECM stereotype. But both he and Mays have expressed less praise for the fifth and final track, "The Epic", which Metheny has claimed, "is all over the map." He has said that the album's second track, "Airstream," is a favorite from this period. According to Metheny, this yielded mixed results. The album represented the most collaborative writing session between Pat Metheny and Lyle Mays up to that point in the band's history. American Garage is the second album by the Pat Metheny Group, released in 1979 on ECM Records.