THE WAY UP

Opening & Part One
Part Two
Part Three

PLAYERS: Pat Metheny (g), Lyle Mays (p, k), Steve Rodby (b), Antonio Sanchez (d), Cuong Vu (t, v), Gregoire Maret (h), Richard Bona (perc, g, v), Dave Samuels (perc)

RELFECTIONS

LYLE: I have always tried to incorporate my many classical influences in ways that never sounded overtly classical. I don't like that on-the-nose, jazz-meets-classical sound where neither side seems to understand the other and the two sides just take turns doing what they always do. I offer as my doctoral thesis, The Way Up, which is essentially a classical symphony in form (and motivic, harmonic and contrapuntal devices), just not played with symphonic instruments or in any particularly classical style. That, to me, is integration.  In chemistry terms, it's the difference between a suspension and a compound. A compound has chemical bonds, a suspension does not. I prefer music with some chemical bonds.

ANTONIO SANCHEZ: I was floored by the amount of music that Lyle and Pat were able to write for us. So intricate, beautiful and poignant all at the same time. The amount of sounds and textures that Lyle brought into the music was breathtaking. So unique, original and individual. He had a very recognizable style in his playing and his sounds. It was a privilege to have been able to participate in those recordings.

CUONG VU: Being around Lyle in all facets of the PMG experience was something that I valued and very much appreciated. The main impression about working with Lyle was that all aspects of the “hang” was just beautiful, whether if it was in the studio, back stage before and after the performance, or going out on days off. My impression and memory of the "working with Lyle" aspects to be the same for both albums that I was on. But the qualities that really stood out are that he was meticulous, insightful, rigorous, thorough and superhumanly fast at overviewing, discerning, and problem solving everything aspect of the music.