Song X: Pat Metheny


Against the run of play, Pat Metheny released the original Song X (Geffen) in 1985. A radical departure from his dreamy, west-coast jazz, this collaboration with legendary saxophonist Ornette Coleman took many by surprise, not least his already legion fans. A wild and at times atonal journey through free-jazz and improvisation it challenged even the most adventurous of listeners.

Including both Jack de Johnette and Denardo Coleman, (Ornette’s son) on drums and percussion and Charlie Haden on bass, it was a huge stab in the dark and risk for Metheny. This version, the twentieth anniversary re-release (WEA 2005), includes six out-takes from the sessions, adding greatly to the original project.

Despite being officially a Metheny project, undoubtedly Ornette Coleman is the driving force here. Focusing his alto sax like laser, he explores bop, post bop, free-jazz and his previous flirtations with north-African phrasing and melodic lines. In fact it would be true to say that at times Pat is relegated to a supporting role. Something he pulls off with great aplomb and originality. Showing what his virtuoso fret-play can achieve when pushed and challenged. It is tempting to say, (in light of some of the criticism levelled at him later), that in the presence of a true master his comfort zone was so shattered that he reached into himself and came up with something special.

The music itself is a roller coaster of ideas, influences and pure throw away playing. It exemplifies Ornette Coleman’s philosophy of music. An exploration of pure sound and spontaneity, of harmonics and rhythm. It is never less than compelling. Never less than innovative. The freedom and opportunity Coleman gives for experimentation and unconventionality provide Metheny with ample space to show what those lightening-like runs and licks can express. His musings and flights, his inverted scales and stretched arpeggios frequently contrast the sax’s wail, its bent and soaring notes. All of which is driven along by Haden’s forward moving bass lines and de Johnette’s relentless and scattered drumming. (Denardo provides the electronics and extra percussion).

The tracks are of such variety and difference it is difficult to know what to consider special. There is the frenetic and atonal ‘Endangered Species’. The jerky uber-bop of ‘Video Games’. A speedy and stabbing tribute to Charlie Parker on ‘Word from Bird’. ‘Police People’ and ‘Mob Job’ both play with conventional 4/4 swing, the later in particular a glorious toe-tapping gem of exuberance. The quirkiness of ‘Compute’. North- African shades on ‘The Veil’. The angular improvisations of ‘Trigonometry’. And not least the achingly beautiful ‘Kathelin Gray’, just Metheny and Coleman, playing like a father and son, student and master, learning from each other while all the time teasing out the exquisite bluesy twists and turns of melody.

This is not music to sit and reflect on. It grabs you and drags you into awareness. It breaks rules, makes new rules and then breaks them. A great recording. If only there was more.

Copyright (C) Peter Hodgins Nov 2007

Song X: Pat Metheny. BUY