Dating a fender custom shop guitar
That figure might be a slight exaggeration, but Metheny was dedicated (he says obsessed) enough to impress Dr.Bill Lee, dean of the University of Miami’s music school, to offer him a full ride after hearing him play in a Kansas City club.Growing up in Lee’s Summit, Missouri, a small suburb of Kansas City, he took up guitar at 13.By his senior year of high school, he was flirting with flunking out because, he admits, he hadn’t taken a book home since seventh grade; instead, he was practicing 20 hours a day.“But the objective, like you see in sports, where somebody’s going to hit eight three-pointers in a row, that thing is for real. Just a magical combination of people, and it was pretty exciting knowing that we were going to get to that.” On the surface, someone who plays 160 concerts nearly nonstop, each typically around three hours, not counting his two-hour warm-up regimen, would seem like a driven workaholic.For me, it’s been kind of a mandate of the gig to get to there every night, no matter what. But Metheny and his wife of 20 years live on Manhattan’s Upper West Side.The “zone” that creative people speak of, when one soars to a higher level, is definitely familiar to Metheny.
Metheny has worked with a who’s who of jazz and non-jazz luminaries, including Burton, Pastorius, Kenny Garrett, Michael Brecker, Charlie Haden, Ornette Coleman, Billy Higgins, Steve Swallow, Abbey Lincoln, Jack De Johnette, Dewey Redman, Joshua Redman, Roy Haynes, Brad Mehldau, Joni Mitchell, Herbie Hancock, Sonny Rollins, Tony Williams, Bob Moses, David Bowie, John Zorn, Eberhard Weber, Milton Nascimento, Chick Corea, the Heath Brothers, Dave Holland, Marc Johnson, Cassandra Wilson, Bruce Hornsby, Steve Reich, and brother/trumpeter Mike Metheny.Ridiculously prolific, he has released approximately 45 albums under his own name, and who knows how many splinter groups and appearances he’s made on other artists’ projects.But far from resting on his laurels, and hefty record sales, he hasn’t shied away from taking chances – the most obvious being 1994’s Zero Tolerance For Silence, the melodic master’s about-face into an all-guitar orgy of improvised dissonance recorded in one day. The 2012 CD and film were Metheny’s modernized version of the coin-operated, human-less music machines of yesteryear.His rapport with Mays brings to mind Jim Hall’s collaborations with Bill Evans, except that Hall and Evans didn’t play thousands of live gigs together.Metheny, born in August of 1954, represented a truly new, unmistakable, individual voice in jazz guitar – on electric and acoustic, as well as being somewhat of a pioneer of the guitar synth.