![]() ![]() Actually, it is only recently that I started listening to myself (in these folders) and it has been interesting. Q: When running for president in 2012, Mitt Romney declared in a debate that he had “binders full of women!” How many as yet untapped folders of music might you have and what are your plans for them? What did you name the folder in your laptop where you found the music that became “Dream Box?” In the liner notes to “Dream Box,” you write: “I have almost no memory of having recorded most of them They just kind of showed up.” That brings up two questions: Q: This ties in with the surprise element. I can count on getting to what I think you are talking about, basically, all the time now. I would say that the last 10 years or so have allowed me to get to places regularly that are far beyond anything I might have hoped to get to earlier, although I always had aspirations to achieve something like that. Metheny: The main thing for me is that I have become much more capable as a musician as the years have gone by. Q: When you have been playing an instrument and making music for 50-plus years, how easy or difficult is it to surprise yourself, creatively speaking, and how important is it to be able to do so? And I have to always note Giuseppe Tornatore - “Cinema Paradiso” is my favorite film of all time. ![]() I recommended that he use (Metheny band drummer) Antonio for “Birdman (The Unexpected Virtue of Ignorance)” with a solo drum score - like I had done with (esteemed drummer) Jack DeJohnette years before on a little known film (directed by Jan Egleson) called “Lemon Sky.” It worked great for both of them!Īnd in fact, Spielberg himself is pretty huge for me. Starting with “Amoros Perros,” he revolutionized the idea of linear time in a way that inspires me, as well as his particular narrative and sonic and visions of what a film might be. One of my major heroes in these past years is Alejandro González Iñárritu. Metheny: That is such a cool thing for John to say. Who are some of your favorite film directors? Is there one - legendary or lesser known - you feel a kinship with, and why? Because - as well as being a great jazz guitarist - he has made these incredible, hugely popular albums.” There is certainly a visual and sometimes cinematic feel to much of your music I might call it painting sonic pictures. Q: Let’s start with a left field opening question: In a 2018 San Diego Union-Tribune interview, your friend and fellow guitarist John Scofield told me: “Pat was already really great at 19! I have always thought of Pat, in a way, as the Steven Spielberg of jazz. Metheny discussed his new album, his career and much more last week in an email interview with the Union-Tribune. He has also collaborated with a dizzying array of fellow legends, including Joni Mitchell, David Bowie, Antonio Carlos Jobim, Herbie Hancock, Ornette Coleman and Steve Reich. Over the course of his multifarious career, Metheny has led numerous bands, more than a few of whose members later became band leaders in their own right. ![]() “There is quite a range of things in that zone to investigate.” ![]() “Although this tour is under the auspices of that release, really what it is is a chance for me to visit all the different ways I have played ‘solo’ across the years,” Metheny, 69, told the San Diego Union-Tribune last week. The other two are classics - Sammy Cahn and Jules Stynes’ “I Fall in Love Too Easily,” and Luis Bonfa and Antonio Maria’s “Morning of the Carnival.” On “Dream Box,” all of the music comes alive with enchanting results. The result, “Dream Box,” is a gently absorbing collection of what Metheny calls “quiet electric guitar pieces.” Seven of them were written by him. ![]()
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