Its more about conception and touch and spirit and soul than whether my hardware was in place.— Pat Metheny
The most sensual Pat Metheny quotes that are easy to memorize and remember
One very fundamental thing has not changed and I realized that it will never change... is that I really need to go home and practice.
Listening is the key to everything good in music.
Most guys at Berklee are going to wind up truck drivers.
If you plan on continuing a tradition, it might be a good idea to find out just what tradition it is that you intend to continue.
I think I represent a more left-wing view of what jazz is
The best musicians are not the best players, they're the best listeners.
There's more bad music in jazz than any other form.
Maybe that's because the audience doesn't really know what's happening.
Im always trying to find connections between things.
That art is the juxtaposition of a lot of things that seem unrelated but add up to something recognizable.
I don't worry too much about the fundamentalist principles that are in almost any discussion about Jazz.
...to me if it's anything, jazz is a verb-it's more like a process than it is a thing.
I realized that equipment really had little to do with why I sound like the way I sound
It's a shame that jazz is now being turned into dried fruit.
It's becoming quantized, diced and defined. It's becoming an idiom. To me if it's anything, jazz is a verb ? it's more like a process than it is a thing.
I think I have a basic sound aesthetic that is in most of what I do
Jazz is not something that can be defined through blunt instruments.
It is much more poetic than that.
From 1962 to 1965, the guitar became this icon of youth culture, thanks mostly to the Beatles
I hate the way chorus boxes sound
My older brother Mike is an excellent trumpet player.
By the time he was 12, he was playing around Kansas City in classical situations. He was already an amazing talent.
I was able to work with the best musicians in Kansas City starting when I was really young
I don't know if I would qualify as mainstream.
I think I have managed to function pretty successfully on the fringes of the music world and have been able to play exactly what I have wanted the way I have wanted
And if I ever DO see [Kenny G] anywhere, at any function - he WILL get a piece of my mind, and maybe a guitar wrapped around his head.
I think jazz is actually quite unforgiving in its disdain for nostalgia.
It demands creativity and change at its highest level.
Avant-garde, jazz, pop, classical, country and western, rock, free, straight-ahead, etc. are ultimately meaningless terms in the face of the music being discussed at best - at worst, those terms often serve as code words for what is in fact a cultural / political discussion more than a musical one.
Music is what you notice when it's no longer in your presence.
Somehow trumpet is the reference point for me it was actually my first instrument.
It is Jazz's very nature to change, to develop & adapt to the circumstances of its environment.
There has to be a real strong reason to do something with someone for me.
I saw A Hard Day's Night 12 or 13 times.
Jazz is an idea that is more powerful than the details of its history.
I was deep in the zone of practicing almost constantly
What I look for in musicians is a sense of infinity
I just have never seen anyone build anything significant in any field without having a deep and detailed sense of what they are building on.
Players get to that intermediate level where they can already play pretty good, and that's kind of a dangerous period because they tend to start playing only the things that they can play, rather than the things they can't.
Jazz music will continue to thrive, possibly in unexpected ways.
I met Gary (Burton) at the Wichita Jazz Festival when I was 18 -- he was one of my favorite musicians and I got to play a few tunes with him there. Shortly after that, I joined his band, which was the equivalent of joining the Beatles for me! He was, and still is, one of the greatest musicians I have ever been lucky enough to be around.
More and more as time has gone on, I realize that playing is really more about listening than it is about playing.
My first relationship to any kind of musical situation is as a listener.
Jazz demands that you bring to it things that are valuable to you, that are personal to you.
I try to be prepared for the moment, through understanding, and being warmed up, knowing all about chords and scales, so I don't even have to think and I can get right to what it is I want to say.
1962 to 1965, where suddenly the guitar became this icon of youth culture all over the world, thanks mostly to the Beatles. Add to that, that I saw A Hard Day's Night 12 or 13 times, and that the guitar was the one instrument that my parents absolutely refused to let in the house. So you add it up and see that irresistible forces led me to the guitar.
As much as I have done collaborations over the years, I am actually kind of a reluctant partner.
Music is one big thing to me.
The more I can learn about music, the more I learn about other things.
People sometimes say it takes a long time to become a Jazz fan, but for me it took about five seconds.
Smokin' at the Half Note is the absolute greatest jazz-guitar album ever made.
It is also the record that taught me how to play.
To me, there are lots of different stories to tell and you usually find the best way to tell the one you are telling once you are in it.
I love playing and working on music. It is something that I feel really lucky to be able to spend my life doing. And I don't sleep much!
Learning to play is mostly about learning to hear, and learning to really listen deeply to sound in a musical way is a lifetime's worth of work.
The first thing I learned was the theme from Peter Gunn.
The Unity Band project has been life-changing for me.
I have led many groups of talented musicians, but this is unlike anything else.