A Quote by Pat Metheny

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. — © Pat Metheny
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.
People ask me to describe how I play, and the most obvious answer is that I'm a jazz influenced guitar player. But I'm not a jazz guitar player. Wes Montgomery was a jazz guitarist, Joe Pass was a jazz guitarist (laughs).
I play the guitar. I taught myself how to play the guitar, which was a bad decision... because I didn't know how to play it, so I was a shitty teacher. I would never have went to me.
When I produce someone's record I have to remember it's their record..no matter what I bring to it..er, sometimes that's not too easy:) It is a responsibility made less easy by people I work with encouraging me to play guitar on their record...A soon as I start playing guitar on someone's record it inevitably starts to sound like me...not always a good thing.
I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!
I taught myself how to play the guitar, I taught myself how to play the drums, and I kind of fake doing both of them. But drumming comes more natural to me, and it just feels better.
Pete Townshend is one of my greatest influences. More than any other guitarist, he taught me how to play rhythm guitar and demonstrated its importance, particularly in a three-piece band.
I did play every little note on the guitar on that record
I did play every little note on the guitar on that record.
My sister taught me how to use my voice, and my brother taught me how to play guitar.
I taught myself to play the guitar by listening to Paul Simon records, working it out note by note. He is an incredibly intelligent musician. He's not someone who has a natural outpouring of melody like McCartney or Dylan, who are just terribly prolific with musical ideas.
There's no such thing as the greatest album ever. There's no greatest book, greatest human, greatest movie. At a push, the closest record to perfection I know is What's Going On by Marvin Gaye or The Beach Boys' Pet Sounds but possibly because they are widely recognized as such.
I don't think I could ever be in a band if we just had to go out there and play the record note for note. I'd give up. I'd become a banker.
When Alcatrazz played in Japan in early '84, the record label offered me the opportunity to do a solo album while continuing to play in the band. I wanted the whole album to have vocals, but the record company didn't want that. Initially, the album was released solely in Japan.
I have always been heavily involved in every album I have ever made. I'm very stubborn when it comes to recording and will only record songs I love, which is why it takes me a long time to make an album.
My school music teacher, Al Bennest, introduced me to jazz by playing Louis Armstrong's record of "West End Blues" for me. I found more jazz on the radio, and began looking for records. My paper route money, and later, money I earned working after school in a print shop and a butcher shop went toward buying jazz records. I taught myself the alto saxophone and the drums in order to play in my high school dance band.
I wanted a guitar when I was 4 or 5, and I learned how to play guitar by the time I was 6. Just self-taught.
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