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Paul: On the Metheney archtop issue: I stand
corrected, but the sound on many of the works had
enough alteration so that there wasn't much trace of
the archtop, hence my mistake. Again, I think Metheney
is a great player, and that he has an impressive body
of work, and that he is in the "pantheon" and has had
lots of imitators. I just criticized the sound. But
again, I grant that it was a successful move career
wise. It was also innovative at the time. People were
just beginning to explore the electronic sounds one
could get from guitars.

On the Diorio influence: I know Metheney heard Diorio
early on, and I can hear the similarities (backed by
charts/transcriptions), so I conclude there was
influence. In most academic fora, that is pretty much
enough to do the trick. Best of all, of course, would
be Metheney himself (although artists' statements
aren't always reliable). I wonder if he has ever
discussed Diorio. Anyone know? Not that the Diorio
influence is all there is to Metheney, but I do hear
some of it in there. By the way, I happen to like the
wide interval stuff, so none of this is meant
critically. Nor is the supposition that Metheney had
influences any criticism. I was just tracing back the
theory behind some of his playing.

Randy Groves

=====
J. Randall Groves, Ph.D. ("Rando")
Professor of Humanities
Ferris State University
groves@...
bebopguitar@...

I think that Methenys tunes are really in depth and sort of
sound track like (thus why he does so many film scores). I
really have trouble getting into "his" sound through. That
straight tone with the chorus just makes me want to go nuts.
Its cool at first, but by the end of the cd..........its not
good. But thats just my opinion. I prefer guys like Mick
Goodrick, John Abercrombie, Bill Frisell over Metheny. You
know the guys that know how to roll the treble ON a little.
JOhn



"Happyness is a Dream, Maddness is Reality, but you've got
a couple options" - A Wise Man

Ummm, Metheny doesn't use chorus on his sound...

Wow........yea metheny does use chorus......!!!!! Actually
he uses two delays set at 15 and 17ms.....each one is set at
a pitch a little above and below the normal guitar sound.
John

"Happyness is a Dream, Maddness is Reality, but you've got a
couple options" - A Wise Man

Hmmm, funny that Metheny himself said (in a seminar at
Berklee) that he doesn't use stereo chorus. I guess he
doesn't know his own gear...

Ummm, Metheny doesn't use chorus on his sound...

He doesn't use a chorus pedal, but the effect he achieves
(in the early days by using three amps, two of 'em with
slight delays) is what a chorus is about. He explains it
quite thorougly at .

Patricio Murphy
NAN - Buenos Aires, Argentina

Pat Metheny studied with Joe Diorio in Florida during the
early '70s, and heard that he said something like "I should
have sent a check to Joe for some of my tunes". This
happened during a clinic/concert at the GIT during the '80s.
In fact, many of PM's early tunes on "Bright Size Life", his
first album, like the title cut or "Unity Village",
"Missouri Uncompromissed" or "Unquity Road" include lines
based on wide intervals, which is a distinctive element on
Diorio's style. Even more, he did an extensive use of that
resource on his early albums like "Solo Guitar", "Peaceful
Journey", or "Rapport" (all on Spitball Records) and wrote
that book called "Intervallic Designs" or something like
that. Jaco Pastorius, the bass player on "Bright Size Life"
also worked in Florida with both Diorio and
multi-instrumentalist Ira Sullivan. The same month that Pat
recorded "Bright Size Life" (December 1975), he also played
on a wonderful Gary Burton's album called "Dreams So Real",
based on Carla Bley's music, that also included Mick
Goodrick, Steve Swallow and Bob Moses, who was the drummer
on "Bright Size Life" I think that Pat Metheny should be
viewed as an integral musician, both the guitarist and the
composer. He did a brilliant synthesis of many different
styles, and, in order to that, besides the "guitaristic"
influences, he was influenced by some composers like Ornette
Coleman, Keith Jarrett, Mike Gibbs, Eberhard Weber or Carla
Bley (the last four, related to Gary Burton). Also pianist
Paul Bley (with whom Pat and Jaco played at a very early
age) might be considered a valuable influence on his musical
approach.

Guillermo Bazzola
Buenos Aires, Argentina