The third is The Bat, a pastoral tune that got a different and beautiful rendering in the next Pat Metheny Group record Offramp. Two of them are energetic and allow the horn players to stretch their blowing abilities: Open, an improvisation vehicle for all soloists, and Pretty Scattered, with a theme that resembles some of Ornette Coleman’s twisted melodies. The two tenor saxes together are featured on three pieces on the album. That was the main reason for me to do something like 80/81 at all.” The sound of the breath is something very important. Never had I the opportunity to write for this Human Element, and I really regretted it. One day I noticed that all the instruments I had worked with on Gary’s and my own records were instruments from the rhythm group: piano, bass, guitar, vibraphone, drums, percussion and synthesizer. Metheny recalls: “For the first time I had the opportunity to write this element of the breath. It is also interesting to note that not only this was the first time Metheny had reed players on one of his albums, but excluding his collaboration with Ornette Coleman on Song X, 24 years passed after 80/81 before the next time he featured a sax player on an album under his own name, with Chris Potter on the Unity Sessions record. The pairing of two tenor sax players, Dewey Redman and Mike Brecker, was also a first for both. Amazing as it sounds, bassist Charlie Haden and drummer Jack DeJohnette, who between the two of them played with most anybody in jazz who is worth listening to in the fifteen years leading to the 80/81 session, have not recorded together up to that point. Interestingly, he also assembled combinations of musicians who have not played or recorded with each other before. He had a clear vision for how they will sound together, and wrote new music with their individual style and personality in mind. Metheny didn’t just ask four great musicians to come over for a session.
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In another comment he said: “To me the only real fault is that Manfred tends to choose artists who don’t know how to swing.” However by early 1980 Metheny was a star on the jazz scene, and his standing in the jazz world now allowed him to pick who to invite to a recording session. Indeed, on that May 1980 session in Oslo the other four musicians could swing like very few can.
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Metheny had the outmost respect for Eicher, at one point saying the only criticism Eicher ever made was “too commercial”, a phrase normally absent from a music producer’s vocabulary. There are some problems for me with ECM, but it’s still 50 times better than anything else.” His last 1970s album, American Garage, was indeed a rarity in the ECM catalog for being produced by Metheny himself with the help of Richard Niles. In a 1978 interview for Downbeat magazine, Pat Metheny expressed his reservations about the restrictions imposed on him by Manfred Eicher: “If Manfred had his way, every album he did would be six ballads and a bossa nova for an up tune.
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After non stop touring, including Joni Mitchell’s Shadows and Light in September of 1979 and with his group early in 1980, he was ready for his next project. The tasteful reverb they applied in the studio is now part of the legendary ECM sound, and it worked magic on the fresh style and sound Metheny was creating in the late 1970s. The first two Pat Metheny Group records and the fantastic solo New Chautauqua followed, also recorded by the legendary producer/engineer duo of Eicher and Kongshaug. His first recording at Talent Studio in Oslo, with engineer Jan Erik Kongshaug, was in 1976 for Gary Burton’s quintet album Passengers for which he also wrote some of the material. The following year he recorded back to back the album Dreams So Real with Gary Burton and his first solo album Bright Size Life. Back in 1974, when he was part of Gary Burton’s band, he met Eicher during the recording of the album Ring. Metheny was not new to the recording location, nor to the ECM label and its manager Manfred Eicher. This is the story of Pat Metheny’s album 80/81 on the ECM label. After just over one day of recording, the session yielded a double LP album for the ages. What ensued was one of the most productive and inspiring recording sessions in modern jazz.
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The session was the brainchild of the youngest among them, a 26 years old guitarist who’s dream was to bring some of his most admired musicians to play together for the first time as a group.
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They were jet-lagged from red eye flights and had a full day of recording ahead of them. On May 26 in 1980 five jazz musicians convened at Talent Studio in Oslo, Norway.