Pat Metheny Group "Hermitage" Onkel Pös - Hamburg, Germany July 7, 1980 Pat Metheny - guitars Lyle Mays - keyboards Mark Egan - bass Danny Gottlieb - drums
WOW! Wow! Wow...I hadn't seen this recording till now...I'm speechless! What a signature elemental sound ;-) What a group! You guys were and always will be untouchable! Thank you. And my regards to Mr. Mays...you're a legend and your music will always inspire. May you truly find peace and rest. Thank you Larry for posting this video.
I first heard Pat around mid ‘78, when someone put on BSL at a party. I thought it was George Benson, till I saw the record sleeve. I’ve listened to lots of his work and saw him live in ‘89. He’s probably my favourite player of guitar solos.
As much as I love the whole history of the PMG. The early years are what I still listen to the most. I grew up in Boston mid 80's, and saw the group many times in Boston clubs, but was too young to see the group w/ you and Mark. Looking forward to listening to your latest work.
Wonderful how I envy you I'm 73 now those formative years pat then s master and with Lyle and the band it must have been unreal Surprisingly going back to the early years I find so rewarding.... absolute joy
Danny, this lineup of PMG is the best, so much energy, so positive and so creative and so inspiring. The 4 of you really had something special together. Like others said, the group really stands the test of time. I have listened to PM since 1981 and really hope one day you guys can do a reunion or something. I would spend my life's savings to fly to such a show (as I know that it will not come to where I live). Anyway, thanks for the great music you created with this special group. Karissa
If anyone says "unwatchable after 1982" I would question your view of jazz, although taste can be arbitrary. Pat's work alone, in a trio, with Brad Mehldau, with the PMG, or with the recent Unity group, all amazing, different and rich in both composition and skill. I can also say that, as a guitarist, Pat has continued to evolve, change, improve in sometimes unpredictable ways, even to this day.
people love to be dramatic. i got off the new Pat train after Letter From Home. But that's just me. It doens;t make him any less of a legend in my eyes. Just not as in to the later stuff. "Unwatchable" is ridiculous.
@@34hedgehog i think one should look at the whole career...i love all the early too...how can you not? but I listen to The Way Up a ton as well as Imaginary day and Speaking of Now with Antonio Sanchez...I mean...frankly I love it all - all artists change if they are lucky enough to be as prolific as Pat, or Sally Mann or Gerhard Richter - I respect the long careers and I enjoy all of the changes.
Reminds me of a friend I thought I had.....he used me and abused me. Banjo player...used me like a puppet. Me, the guitar player. Jimmy I hope you have advanced as a person by now....
Dream of the Return is a great song and I enjoy the evocative quality of much of Pat's music. Pedro Aznar is a wonderful music talent. But Pat went overboard with the vocalise; Vasconcelos added fragile colorings and it was great. Before you knew it you were being choked by chocolate bon bons. The Way Up is fantastic, truly the best PMG album since Travels. Did you know, thow, that he had written the main them in 1978? By the way, I've never smoked and the meds aren't a problem.
but, but , but - if you can't get Dream of the Return (other people can - it's a sensational track) then I say you don't understand Metheny at all and you're obsessed with jazz-rock and don't appreciate what a great composer he is, and remains.
Most of you don't get it and are negative. Pat Metheny is amazing in all stages of his career. In case of the drummers: they are all amazing. Why not celebrate difference? Do you want all musicians sound the same?
It's like preferring one of Picasso's works over another. A real artist doesn't "play favorites", by which I mean that one work leads to the next and to the next. The wonderful thing - which the artist as well as the astute viewer/ listener gets to enjoy, along with the creations themselves, is stepping back, seeing the relationships - how the work builds upon itself and takes you to another level. With "all due immodesty", as artist Robert Rauschenberg once said, I am including my own work here, in contemporary art & ambient-world music as an illustration. Art - www.DougFrohman.com/Particles.html Music - PriorWorld.com/Tales.html
I miss the Pat (and PMG) of the early years, where making music of true art and beauty was more important than playing a bunch of “jazzy” notes - as brilliant as that jazzy playing is of the post Travels era. This (Onkel Pos) is a treasure I keep coming back to - PMG at its finest: Finesse, subtlety, nuance, imagination. Pat was absolutely game-changing and brilliant in his younger days when he was still establishing new territory in jazz/fusion. Listen to something like Sirahborn or Icefire or even Rejoicing next to We Live Here, Imaginary Day, or The Way Up, etc., and there’s really no comparison, I feel. The former are sonic artworks of otherworldly transcendence; the latter seem to be notesmithing for jazziness’ sake. I saw PMG live in 2005 and am a huge fan since my teens. What do I gravitate to, though? The stuff recorded from 1976-1983.
my favorite songs are with Wertico (yolanda you learn) but my favorite drumming is with gotlieb on drums. Antonio is righteous... but Bill Stewart is a mutha fuckin animal!!!
Mr. Gottleib, my very first PMG concert I attended, you were the drummer in the band at the time,the one and only PMG concert I saw you perform in. I'm glad to have witnessed your talent and work with Pat. Some of the best music of the PMG came form this period, you were an essential part of the group sound and artistry.
I was going to ask what about imaginary day, which does break the mould a bit. And, granted, Gottlieb was a better drummer than Wertico, but Sanchez is better again. And yes, there is something very bright about PMG, Watercolors, New Chaut etc. However, you're in a minority (not that that would or should bother) - see the comments on here for tracks like first circle, third wind, episode d'azur, and See the World (bet that one makes you puke!!).
@molondas 1983, PMG: Gottleib replaced by a Polish punk rocker, Vasconcelos leaves and is replaced by a fine butterscotch baritone but the obsession with Nascimento-inspired vocalise deepens. 84: First Circle is released, a collection of sugary retreads and impish filler. PM leaves ECM. Falcon/Snowman, more sentimentality. 87, Still Life Talking, a dire, derivative statement of sterility. 89, Letter from Home, not terrible, just annoying and full of gimmickry and filler.
To make a long story short, PMG has become a sad example of rootless world citizenship and all-things-to-all-men pandering and borrowing. Metheny himself has become insufferable with his pronouncements. But at the end of the day, it's good for a laugh for guys like me who actually attended the shows in the 70s and early 80s. Anyway, it's time for me to slip into my worn loafers and cardigan and get on with more work from home.
Metheny's pot shots at Kenny G were disturbing, at least to me. I never (intentionally) listen to Gorelick's music. Yet, had I not witnessed his attack on Kenny G and his listeners, I don't believe I would have understood the point your making re: "...insufferable with his pronouncements." At least we can take solace in the fact that Metheny, just like the rest of us, is human and, ergo, prone to err. As my musically gifted grandfather (on violin, full scholarship to the Damroche (now Juilliard) School of Music at 11) posited: Appreciate the artist and his art, but avoid becoming too close because their personal lives can be shocking.
I withhold judgement against Metheny for this anti-Gorelick pronouncements without knowing its full context; however, a part of me is kind of glad that he made that statement/s irrespective of context.
...Phase Dance becomes a samba in concert and San Lorenzo and other plump yet crystalline ECM material is discarded for trash like Minuano and The Theme frome The Weather Channel. The next several years see even more pathetic live performances, weighed down by uninspired material. We Live Here was awful. Imaginary Day was OK, but by then Pat had forgotten that he was from Missouri and the song titles are laughably ponderous. The Way Up and its shows were good, but by then who cared?
Simply glorious......a heart breaker the sensitivity of this composed at just 23..... astonishing
This version of Hermitage is the most wonderful I've ever heard. It's makes me cry.
Pasaron 40 años y está joya no se oxida. Que talento, por favor!!!
What a nice piece of music. It can be only be written by somebody with an evolved, contemplative mind.
WOW! Wow! Wow...I hadn't seen this recording till now...I'm speechless! What a signature elemental sound ;-) What a group! You guys were and always will be untouchable! Thank you. And my regards to Mr. Mays...you're a legend and your music will always inspire. May you truly find peace and rest. Thank you Larry for posting this video.
I first heard Pat around mid ‘78, when someone put on BSL at a party. I thought it was George Benson, till I saw the record sleeve.
I’ve listened to lots of his work and saw him live in ‘89.
He’s probably my favourite player of guitar solos.
To mistake Metheny with Benson.... You must be a very advanced listener.
Pat se entrega totalmente a música e o resultado so poderia ser esta beleza l! Amo!!!
As much as I love the whole history of the PMG. The early years are what I still listen to the most. I grew up in Boston mid 80's, and saw the group many times in Boston clubs, but was too young to see the group w/ you and Mark. Looking forward to listening to your latest work.
Wonderful how I envy you I'm 73 now those formative years pat then s master and with Lyle and the band it must have been unreal
Surprisingly going back to the early years I find so rewarding.... absolute joy
New chautaqua, primer disco de Pat que tuve en mis manos, hoy Tengo la colección
Danny, this lineup of PMG is the best, so much energy, so positive and so creative and so inspiring. The 4 of you really had something special together. Like others said, the group really stands the test of time. I have listened to PM since 1981 and really hope one day you guys can do a reunion or something. I would spend my life's savings to fly to such a show (as I know that it will not come to where I live). Anyway, thanks for the great music you created with this special group. Karissa
Qué Maravilla!!!
Beautiful.. they were just kids back then.. the original lineup.
1980? Wow!
very young and talented
Oh so nice! And nice to see comments from Dan- it makes the video even more special.
If anyone says "unwatchable after 1982" I would question your view of jazz, although taste can be arbitrary. Pat's work alone, in a trio, with Brad Mehldau, with the PMG, or with the recent Unity group, all amazing, different and rich in both composition and skill. I can also say that, as a guitarist, Pat has continued to evolve, change, improve in sometimes unpredictable ways, even to this day.
If someone says unwatchable after 1982 that "someone" is a d*ck head. No other comment is needed
people love to be dramatic. i got off the new Pat train after Letter From Home. But that's just me. It doens;t make him any less of a legend in my eyes. Just not as in to the later stuff. "Unwatchable" is ridiculous.
'Unwatchable'? What a lot of crap.
@@34hedgehog i think one should look at the whole career...i love all the early too...how can you not? but I listen to The Way Up a ton as well as Imaginary day and Speaking of Now with Antonio Sanchez...I mean...frankly I love it all - all artists change if they are lucky enough to be as prolific as Pat, or Sally Mann or Gerhard Richter - I respect the long careers and I enjoy all of the changes.
What I wouldn't give to see the original PMG lineup again. IMHO the ECM-era PMG stands the test of time, as opposed to the 80s and 90s era PMG.
Amor nao correspondido juventude beleza frustrações vida.
Masters
Reminds me of a friend I thought I had.....he used me and abused me. Banjo player...used me like a puppet. Me, the guitar player. Jimmy I hope you have advanced as a person by now....
Quem escutando hoje 2022? 7/11?
Dream of the Return is a great song and I enjoy the evocative quality of much of Pat's music. Pedro Aznar is a wonderful music talent. But Pat went overboard with the vocalise; Vasconcelos added fragile colorings and it was great. Before you knew it you were being choked by chocolate bon bons. The Way Up is fantastic, truly the best PMG album since Travels. Did you know, thow, that he had written the main them in 1978? By the way, I've never smoked and the meds aren't a problem.
4:24 triads creating tension 😉
nice
Gorgeous number. Does Pat still play this live?
but, but , but - if you can't get Dream of the Return (other people can - it's a sensational track) then I say you don't understand Metheny at all and you're obsessed with jazz-rock and don't appreciate what a great composer he is, and remains.
para o dia dos pais
Hola, ¿tu tienes el concierto completo de Hamburgo de 1980? Do you have the full Hamburg concert of 1980?
Most of you don't get it and are negative. Pat Metheny is amazing in all stages of his career. In case of the drummers: they are all amazing. Why not celebrate difference? Do you want all musicians sound the same?
Danny Gotlieb You are a Righteous drummer. I am very inspired by you. I Love your work with Pat Metheney. Where does your inspiration come from?
How right you are! But my favorite drummer of the PMG history is Paul Wertico.
It's like preferring one of Picasso's works over another. A real artist doesn't "play favorites", by which I mean that one work leads to the next and to the next. The wonderful thing - which the artist as well as the astute viewer/ listener gets to enjoy, along with the creations themselves, is stepping back, seeing the relationships - how the work builds upon itself and takes you to another level. With "all due immodesty", as artist Robert Rauschenberg once said, I am including my own work here, in contemporary art & ambient-world music as an illustration.
Art - www.DougFrohman.com/Particles.html
Music - PriorWorld.com/Tales.html
I miss the Pat (and PMG) of the early years, where making music of true art and beauty was more important than playing a bunch of “jazzy” notes - as brilliant as that jazzy playing is of the post Travels era. This (Onkel Pos) is a treasure I keep coming back to - PMG at its finest: Finesse, subtlety, nuance, imagination. Pat was absolutely game-changing and brilliant in his younger days when he was still establishing new territory in jazz/fusion. Listen to something like Sirahborn or Icefire or even Rejoicing next to We Live Here, Imaginary Day, or The Way Up, etc., and there’s really no comparison, I feel. The former are sonic artworks of otherworldly transcendence; the latter seem to be notesmithing for jazziness’ sake. I saw PMG live in 2005 and am a huge fan since my teens. What do I gravitate to, though? The stuff recorded from 1976-1983.
Anyway, yes I think you're right, cardigan on, light your pipe and wait for nurse to bring your afternoon medication. :)
my favorite songs are with Wertico (yolanda you learn) but my favorite drumming is with gotlieb on drums. Antonio is righteous... but Bill Stewart is a mutha fuckin animal!!!
Mr. Gottleib, my very first PMG concert I attended, you were the drummer in the band at the time,the one and only PMG concert I saw you perform in. I'm glad to have witnessed your talent and work with Pat. Some of the best music of the PMG came form this period, you were an essential part of the group sound and artistry.
This is a great version from PMG and PM is a great composer however, I still personally prefer the Quartet West versions by far.
Just a tad overblown for me, compared with the version on 'N.C.' The original is very special to me, for personal reasons.
I was going to ask what about imaginary day, which does break the mould a bit. And, granted, Gottlieb was a better drummer than Wertico, but Sanchez is better again. And yes, there is something very bright about PMG, Watercolors, New Chaut etc. However, you're in a minority (not that that would or should bother) - see the comments on here for tracks like first circle, third wind, episode d'azur, and See the World (bet that one makes you puke!!).
@Aggromerchant what a load of nonsense
@molondas
1983, PMG: Gottleib replaced by a Polish punk rocker, Vasconcelos leaves and is replaced by a fine butterscotch baritone but the obsession with Nascimento-inspired vocalise deepens. 84: First Circle is released, a collection of sugary retreads and impish filler. PM leaves ECM. Falcon/Snowman, more sentimentality. 87, Still Life Talking, a dire, derivative statement of sterility. 89, Letter from Home, not terrible, just annoying and full of gimmickry and filler.
Mark Egan never fits what will be the PGM sound.
Disagree. Mark was great and has had a fine career. Same for Danny.
To make a long story short, PMG has become a sad example of rootless world citizenship and all-things-to-all-men pandering and borrowing. Metheny himself has become insufferable with his pronouncements. But at the end of the day, it's good for a laugh for guys like me who actually attended the shows in the 70s and early 80s. Anyway, it's time for me to slip into my worn loafers and cardigan and get on with more work from home.
Metheny's pot shots at Kenny G were disturbing, at least to me. I never (intentionally) listen to Gorelick's music. Yet, had I not witnessed his attack on Kenny G and his listeners, I don't believe I would have understood the point your making re: "...insufferable with his pronouncements." At least we can take solace in the fact that Metheny, just like the rest of us, is human and, ergo, prone to err. As my musically gifted grandfather (on violin, full scholarship to the Damroche (now Juilliard) School of Music at 11) posited: Appreciate the artist and his art, but avoid becoming too close because their personal lives can be shocking.
I withhold judgement against Metheny for this anti-Gorelick pronouncements without knowing its full context; however, a part of me is kind of glad that he made that statement/s irrespective of context.
Agreed. PMG was pretty much unwatchable after 1982.
...Phase Dance becomes a samba in concert and San Lorenzo and other plump yet crystalline ECM material is discarded for trash like Minuano and The Theme frome The Weather Channel. The next several years see even more pathetic live performances, weighed down by uninspired material. We Live Here was awful. Imaginary Day was OK, but by then Pat had forgotten that he was from Missouri and the song titles are laughably ponderous. The Way Up and its shows were good, but by then who cared?