Orchestrion

Since the mid-1970s, guitarist Pat Metheny has played in all kinds of groups: duos, trios, quartets, big bands, you name it. But 2010’s *Orchestrion* is unlike anything he’s ever done. After a casual listen, you probably wouldn’t know that this is a solo record; it sounds like the work of a medium-size ensemble. In fact, the guitarist is playing with a Metheny-programmed automaton orchestra that includes pianos, marimba, vibraphone, guitarbots, keyboard, percussion, and a variety of “custom-fabricated acoustic mechanical instruments.” The sounds can be triggered via guitar, keyboard, or computer. Amazingly, the music flows in human-like ways. There are occasional hints of the mechanistic —“Entry Point,” for instance, has stiff touches you might expect to hear from such a contraption. At various points, the plinking percussion brings to mind minimalist composers such as Steve Reich or Philip Glass. The self-titled opening track is representative of the whole: a lush arrangement provides a backdrop for Metheny’s fluid guitar. *Orchestrion* is an appealing, subtly strange album that isn’t quite like anything else.

Pat Metheny’s Orchestrion refers to a 19th century hybrid musical instrument of the same name that contained (usually) a wind orchestra, various percussion instruments, and sometimes a piano played by a pinned cylinder or a music roll -- like a player piano.

Pat Metheny has earned the chance to play in nearly every existing context that a jazz musician could imagine -- traditional quartets and trios, fusion...

<p>This is an amazing technical achievement, but still smacks of a missed opportunity, writes <strong>John Fordham</strong></p>