Offramp

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Editorial reviews

Amazon.co.uk Review
This 1982 recording by the Pat Metheny Group represented a crossroads for the guitarist, a creative expansion from his original concept in terms of acoustic and electric instrumentation, folksy roots material and modern jazz influences, American and third world sources. Having thus marked out the territory for a decade's worth of experimentation and growth, the Metheny Group cemented its standing on the cutting edge of contemporary jazz with Offramp. Lyle Mays' harmonica-like synth theme, Metheny's soaring, vocalised synth-guitar lead, some rich orchestral touches and an easy-going blend of backbeat and chord changes, made "Are You Going With Me" one of Metheny's most enduring arrangements. Still, for every gentle, alluring set piece, such as the tango-like "Au Lait" or the rural vistas of "James", there was a visceral, emotive free-for-all like the title track. Here, Metheny unleashed wild, wailing synth guitar elisions over a loose, abstract pulse-anticipating the energy of the guitarist's collaboration with free jazz guru Ornette Coleman some four years hence on Song X. --Chip Stern

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Customer reviews

review by: date: 2007-01-28 rating:
grammy winning abum
Metheny has won somewhere in the region of 16 grammys in several categories
but is ignored by the mass media. Never mind, to hear good music one has to actually search it out and make an effert and take a chance on buying it to do so. I first heard of Metheny when i saw a concert on TV where he featured as part of the Joni Mitchell band. I searched out a couple of his albums, this being one of them. At first i wasn't too sure about it. But after a few listens this is one of my desert island discs and Metheny i consider to be one of the great guitarists and composers around. This album reinstates melody back into jazz, it is accessible but also very daring, combining new technologies of guitar synthesiser and keyboard effects played orchestrally in a group context. There's a lot in the cauldron here with great contribution fron Nanconcelas on percussion and voice. Metheny's guitar tone is bell like and soft and he is along with Allan Holdsworth the best guitar synthesists around. The tracks Barcarole and Offramp are the most demanding but this is balanced out by beautiful songs like the Bat, James and au lait. Eighteen combines jazz with rock. This album along with the double live CD Travels are his best works. Metheny plays in a lot of different styles and contexts. I am open minded and derive enjoyment from all of them- jazz trio/group with esoteric influences/duets and the more difficult but rewarding freer forms. Enjoy!

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review by: date: 2003-11-26 rating:
The best album he's made (so far...)?
I have quite a few Pat Metheny albums yet I conider this by far my favourite. It was actually the first one I'd ever heard by him and pehaps it is partly this that adds to its enduring appeal.
For those not familiar with this type of music it would be generally described as 'fusion' i.e. a kind of electro/jazz hybrid. If you think that sounds pretty awful well, generally you'd be right in my view (a lot of this genre sounds to me like atonal, dissonant nonsense). There's no need to worry here though as (with one or two exceptions) these instrumentals are simply lovely. 'Au Lait' always suggests to me a weird yet uplifting melange of imigary redolant of a Parisian fairground ride (whatever that is!)and, even now, I'm still taken there. Often 'fusion' and indeed Metheny himself can be accused of being a more cerebral rather than moving experience but this track is the ultimate testament to the fact that this is not always the case.
'Are You Going With Me?' is considered to be Metheney's 'calling card' and a fine track it is too showcasing, as it does, his trademark Larry Adler-like guitar sound. Another standout track is 'James' which, for some reason, reminds me of the old theme tune from 'Taxi' (called 'Angela' I think). Again the musicianship is subtle, organic and understated and belies the fact that Metheny really is somewhat of a muso technician.
Often with jazz recordings I'm left with the sense that there may be much to admire yet little to love - this doesn't apply here though.
If you like this album and are keen to get more Metheny material in the same vein then I would particularly recommend the following: Secret Story, As Falls Wichita..., Travels, Beyond the Missouri Sky, A Map of the World(OST) and Works 1&2. All these tend to be his more tuneful compositions and I would recommend you start with these if that's your preference. Otherwise buy carefully as you could easily end up with the most 'challenging' (ie dreadful) material (cf 'Zero Tolerance for Silence')or the tedious 'supermarket muzak' of which counts for a sizeable amount of Metheny's output (this sort of thing is probably considered 'genius'by those less philistine than I though).
P.S. Even a relatively clued up Metheny buyer can make mistakes; I recently bought 'One Quiet Night' expecting great things (his purely acoustic playing is generally beautiful). What a mistake! Awful, simply awful (where are the TUNES man??)!

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review by: radletteer date: 2002-08-07 rating:
WE Are Going With You
Recorded in 1981 and released in 1982 this is one of The Metheny Groups finest. Its the last album with Dan Gottlieb on drums before he was replaced by Paul Wertico. Nana Vasconcelos augments the quartet with percussion and voice. The Metheny format seemed to me to be more varied in this early 80s period producing their most memorable albums. (As Falls Wichita, So Falls Witchita Falls/Travels/First Circle)
The short percussive, catchy Barcarole leads into the classic Are You Going With Me, one of Metheny's showstoppers on stage. Au Lait is a laid-back, mood piece with some neat, soulful playing from Metheny and Lyle Mays on piano.
Eighteen is a typical bright and breezy picking up from The American Garage album feel. Then comes the title track. The most powewrful track by far but also the least commercial. Its firmly in the Ornette Coleman harmolodics camp and makes the hairs stand up on the back of your neck. Play it loud. Fabulous. They played a fantastic updated version of this when I saw them in London in June 2002.
James goes back to the melodic feel and is thouroughly pleasant.
THe album close with atmospheric The Bat Part II, layers of sound over fluttering cymbals.


review by: date: 2000-05-01 rating:
The best album I own
The first album where Metheny embraced guitar synth. Expecting an element of hit and miss from a learning curve and over-experimentation, you'd be wrong. The first two tracks just mesmerise in their use of atmosphere -object lessons in how to choose taste over technique. Au lait is understated, 18 almost rocking and if the title track is a little frantic, it only provides the shade to the rest of the album's unbearable lightness of being.

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