The first phase of his career Patrick Bruce ' Pat 'Metheny (born August 12, 1954 at Lee's Summit, Missouri) has been characterized by creative impulses that have brought this guitar to enrich the style of jazz - with great success and critical - music including blues, country, experimental, ambient, pop, rock, ethnic. The last album was really surprising " Imaginary Day ", released in 1997. Later, however, Metheny has expanded its range of action / attention, working on new productions of the Pat Metheny Group and the consolidation of the excellent relations of cooperation (Brad Mehldau, Charlie Haden, Michael Brecker). No lack of depth explorations in style the 'combo jazz trio', or the most extreme sound research (" The Sign Of 4 ", recorded live at the Knitting Factory d NYC in the company of Derek Bailey, George Bendian, Paul Wertico).
In 2010 the indefatigable Pat has the unusual project " Orchestrion "mechanical orchestra where the musicians are 'robot' - that is electric or acoustic instruments - directly operated by the same guitar, through a sophisticated system based on solenoids and pneumatic principles. Not just record bases, and then, but "agents" non-human sounding music with band leader (human, too human or superhuman, as you prefer).
@ Angels Demons came with Pat Metheny mechanisms between mobile Orchestrion.
This is the first part of the interview.
What was your intention when you imagined basic "Orchestrion?
"This project is rich in elements of charm, on many levels. It is a platform and at the same time, it is a special media that offers new opportunities and new areas of inquiry or investigation, in all aspects of the music. The embryonic idea of \u200b\u200bthe project came to me many years ago. My grandfather owned a mechanical piano , the so-called player piano , an ancient instrument that, in the nineteenth century, was considered science fiction. The attraction of this instrument has accompanied me all my life. Somehow I always thought of how to achieve something in the spirit of the player piano, that is, a mechanical orchestra was born and was used before the advent of the music industry, that affect the music before becoming a standard practice. Thinking about the system of ' Orchestrion I asked myself many times, because this way of making music has been abandoned? A couple of years ago I received a call from composer Steve Reich. In 1989 I recorded the songs, written by Reich, who made up the work Electric Counterpoint . It was me alone with my guitar, but through numerous recordings over, was like listening to an orchestra of guitarists. A few year I was asked to play Electric Counterpoint Live at Carnegie Hall. I went up on stage, accompanied only from the records of 12 other parties who had previously performed and recorded. The concert made the audience go crazy, and after the performance, in the back of the stage I said to myself, I played with the tapes and it went very well. It's time to give substance to that desire which I carry within me ever since childhood: the time has come to realize Orchestrion.
What were the phases of creation?
"I started working on the project, with the support of luthiers and sound technicians. I had clear ideas about the outcome I wanted to achieve and I wrote a lot of material. But when the instruments were ready dell'Orchestrion I discovered that I had composed the music that could not work with this new structure. I threw everything away and starting again from scratch. It was precisely these tools to show the opportunities that I could explore, in terms of harmonic and melodic. I wrote it based on the music of nature Orchestrion not Orchestrion tried to bend to my will. I always try to get the most from the potential that the context I sell. I mean, when I play with a great bass player is my care to write bass parts that are equal to his talent. If I play with a great drummer led him to give his best. And so on. With members of Orchestrion I could not deal with the talent: they are inanimate, but have potential. The instrument platform called the palette used. The process of deepening was incredible. The song that opens the disc lasts 16 minutes and consists of 200 pages of score. The counterpoint between the instruments is very complex " .
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