Published on Jan 10, 2015 Review by Thom Jurek in AllMusic When Pat Methenys New Chautauqua first appeared in 1979, it was his third album for ECM, and was greeted mainly on the strength of its title track, a euphoric, uptempo, multi-layered guitar and bass folk dance. His previous two outings for the label, Bright Size Life and Watercolors, showcased him in the company of other musicians: on the former with Bob Moses and Jaco Pastorius, on the latter with Lyle Mays, Danny Gottlieb, and Eberhard Weber. Theyd both received critical acclaim and sold well in college towns across the United States and Europe. But this volume was his first true solo recording in that he played all the guitars and basses on the set. As wonderfully indicative of Methenys signature as this title cut was, the rest of the date was a complete shock to fans. Its very sparse, spacious, and quietly contemplative. Produced by Manfred Eicher, New Chautauqua was, at the time, far more indicative of ECMs sound than it was the guitarists. In 21st century retrospect, this first impression proves to be a mistake. Reconsidering the album upon its re-release in 2008 as part of the labels budget Touchstone series, it sounds more an extension of Methenys complex, wide-ranging musical personality than anything else. His great debt to guitarists from Jim Hall to Pat Martino on the title cut and on Daybreak, the closer, is balanced only by his impressionistic melodic sensibility that is informed as much by Paul Bley and Jimmy Giuffre (Long Ago Child/Fallen Star) and latter day-John Lennon and Paul McCartney (Hermitage) as it is by his mentor, Gary Burton (Sueno con Mexico). This is a very gentle and contemplative recording, but there is so much happening in the weave of six-, 12- and 15-string harp guitars and basses, its easy to let it slip by in a dreamy reverie. If any of Methenys early recordings deserves reconsideration, a real argument can be made for the skeletal, yet utterly beautiful New Chautauqua.
Posted on: Sat, 10 Jan 2015 17:42:39 +0000
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