Guitarist and composer Pat Metheny is the only recording artist to win 20 Grammy Awards in 12 different categories. Between 1978 and 2020, he notched 28 albums in the Top 200; 45 of them also placed Top Ten on jazz charts -- 13 were number ones. His trademark sound, forever in search of euphoric transcendence, is inimitable and constant, yet his aesthetic evolves with each project. He crisscrosses genres, rhythmic and harmonic approaches, techniques, and tonalities. Side-Eye is a band project wherein the guitarist employs a rotating cast of younger players. Side-Eye NYC (V1.IV) is a live outing that features drummer Marcus Gilmore and keyboardist James Francies playing a program divided almost equally between new music and catalog material. In addition to Francies' crop of keyboards, Metheny brings synths and Orchestrion, making this trio sound like a much larger band.
The 14-minute opener "It Starts When We Disappear" is new. The intro's open chord voicings ring alongside Francies' spectral, pulsing synths. They hover above Gilmore's tight, restrained hi-hat and snare, framing a harmonic progression introducing a suite-like architecture. Double-timed percussion, wafting layers of chime-like synths, and Metheny's seamless phrasing usher in a blissed-out labyrinth that crosses prog rock, organ trio jazz, post-bop, and Afro-Latin grooves. "Better Days Ahead," co-composed by guitarist and keyboardist, offers a lilting, slightly funky head; it's framed by lyrical keyboard basslines. The shimmering drum kit underscores and extends the reach of the composers' gorgeous, soulful solos. Metheny originally contributed "Timeline" to Michael Brecker's Time Is of the Essence in 1999. It begins as a bluesy soul-jazz organ jam that stretches toward swinging hard bop. Included from 1976's Bright Size Life, "Bright Size Life" and "Sirabhorn" are rendered with harmonic and rhythmic updates for the 21st century without forsaking their instantly recognizable melodies -- both are characteristically breathtaking. Gilmore is astonishing; in constant motion, he offers a knotty, intricate approach yet never forsakes the slippery grooves. Further, Francies has Jaco Pastorius' basslines down cold on the keys. "Lodger" is a new, spectral, almost psychedelic rocker whose melody line bears a small resemblance to Jimi Hendrix's "Little Wing." As the organ swells, Gilmore begins a processional shuffle on the kit, and Metheny offers a master class on why the guitar is an instrument of discovery. "Turnaround" was penned by Ornette Coleman; Metheny recorded it for 80/81 (1980) and Song X (1985) -- the latter with the composer. Its sweet, lyrical hard bop offers striated blues, cascading rhythmic invention, and angular harmonies. Set closer "Zenith Blue" is introduced by a warm guitar synth that makes space for the rhythm section to explore drum'n'bass. Metheny then takes them across folk, Americana, modal jazz, and back, leading to a startling conclusion. Side-Eye NYC (V1.IV) offers an astonishing portrait of the many places Metheny has been, and intimates where he may yet go. It's an album that virtually all of his fans can celebrate. It may also lead to another generation discovering him.