Pat Metheny & Lyle Mays: As Falls Wichita, So Falls Wichita Falls (ECM 1190)

Pat Metheny
Lyle Mays
As Falls Wichita, So Falls Wichita Falls

Lyle Mays piano, synthesizer, organ, autoharp
Pat Metheny electric and acoustic 6- and 12-string guitars, bass
Nana Vasconcelos berimbau, percussion, drums, vocals
Recorded September 1980 at Talent Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

Listening to any Pat Metheny album for the first time is like finding a long-forgotten photograph, interleaved in a dusty book marked to the brim with the marginalia of a past life. And just when one thinks that feeling might dull over time, Metheny whittles from the vast block of wood that is his genius a masterpiece like As Falls Wichita, So Falls Wichita Falls, on and through which the Missouri-born guitarist begins to expand his reach to “global” proportions. His Instrument—with a capital “I”—and his playing of it define supernovas of emotional distance in the most compact lines. From these he unspools spectrums upon spectrums.

Where many of his albums might open with a shout of joy, a heavy acoustic rhythm, or a sweeping grandeur, the 20-minute title track’s genesis lies in the ambience of a field recording. We hear a crowd, a voice chanting taals, the rasp of shakers. Thus (dis)located, Metheny begins to map this human web through the drone of Lyle Mays. Only then, from thunderous rumblings, does his slack guitar take our hand and lead us through the crowds. With a drum machine at his side, Nana Vasconcelos clothes us in local colors. The electronic accents and attentive sense of evocation evoke Steve Tibbetts as the band coalesces into a shimmering, autoharp-laden catharsis. Riding a leviathan of strings, a voice recites numbers, as if in code. With the sounds of children at play still in our ears, the upbeat “Ozark” crests into the wave of extroverted Americana that is Metheny’s standby. Mays at the keys makes this stage, gliding effortlessly along a landscape tessellated by a rainbow of impressions. “September Fifteenth” is as intimate as the last is expansive, a prayer for Bill Evans, who left us on the selfsame date while the album was in session. The pianism of Mays (for whom Evans was a formative influence) could hardly be more fitting. To be sure, it glitters like the rest, only this time with the beads of falling tears. The title of “It’s For You” lends delight to the cover montage. If its colorful combination of sounds is meant to brighten our mood after the mournful turn that precedes it, then it certainly does the trick. Metheny’s signature electric traces in silhouette every footprint leading into the mystical shores of “Estupenda Graça,” where he sketches for us a more diffuse version of street on which we began.

Some have remarked on the “regrettable” cover art and the title that brands it, but I for one believe it to accurately illustrate Metheny’s process. Making or receiving a phone call is a form of travel in itself, for those precious moments of communication seem to collapse the two spaces that both speakers inhabit. And which of us has not, when experiencing something sonically profound, held up a phone so that the person on the other end could get some sense of the experience? “It’s For You” isn’t just a catchy phrase; it’s a thank you for the listener.

<< Jack DeJohnette’s Special Edition: Tin Can Alley (ECM 1189)
>> John Abercrombie Quartet: M (ECM 1191)

5 thoughts on “Pat Metheny & Lyle Mays: As Falls Wichita, So Falls Wichita Falls (ECM 1190)

  1. ….now this release takes me back to my very first live Pat Metheny Group experience, in a small intimate setting – a church in Burlington, VT in the fall of 1979. In that concert, Pat played some tunes from Bright Size Life, much of “the white album,” and his current release at the time, American Garage. But in the middle of the concert the lights went low, odd sounds were emerging from Lyle’s synth and Gottlieb’s drums – was it a helicopter? crashes of thunder? The tune had no name – the main feature was Metheny stepping up to a hard body 12-string on a stand and plucking incredible single notes and strumming harmonics. Was it about war? I am sure the entire audience was mystified. What we witnessed, of course, was an early version of the yet-to-be-named “As Fall Witchita…” – a performance that will live with me forever.

    “It’s for You?” No – it’s for all of us!

    1. Wow, Craig. This is a once-in-a-lifetime memory, and I am so grateful that you have shared it here. I recently missed an opportunity to here Pat in NYC. I can only hope I will have the chance to see him at some point in the future, to experience his prodigious gifts through the medium of life, rather than through the medium of my computer…

    2. I agree, what a great memory. One of the great regrets of my life was that I was not tuned in to PMG until after they had left ECM for Geffen – thus I missed the early live shows that supported my favorite albums (The First Circle, Offramp and AFWSFWF).

  2. I love this. I definitely hear the Steve Tibbetts’ collage thing in this work but more Americana and less exotica. Great stuff!!

  3. One of the truly great albums. I played it constantly during the early and mid-eighties, then drifted away for many years. I picked it up again recently and it was as fresh as the first time I heard it.

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