Label: Nonesuch Records, 2020

Personnel - Pat Metheny: guitar; Gwilym Simcock: piano; Linda May Han Oh: bass; Antonio Sanchez: drums + guests Gregoire Maret: harmonica; Meshell Ndegeocello: vocals; Luis Conte: percussion.

Four years after releasing the double-disc CD The Unity Sessions, guitar phenomenon Pat Metheny is back to his eclectic, fully persuasive sonic environments with a new album, From This Place. The program consists of 10 deftly written originals that reflect Metheny's refined musicianship, and is carried out alongside his new working quartet - with young British pianist Gwilym Simcock, Malaysian/Australian bassist Linda May Han Oh, and Mexican/American drummer Antonio Sanchez. Their sound kept evolving throughout the years they’ve been touring together, and the bandleader broadens his vivid palette with brilliant symphonic arrangements written by Alan Broadbent and Gil Goldstein and performed by the Hollywood Symphony Orchestra, conducted by Joel McNeely.

In a 13-minute ride, “America Undefined” makes for an epic opening statement in a glaring illustration of the way Metheny thinks musically. After a plaintive introduction designed with the cello at the center, the guitarist interlaces his admirably clear sound with Simcock’s piano, and the tune leaves that initially saddened state of mind behind. While the latter pushes the rhythm section forward as he improvises, Metheny then soothes the way with a transparent, elevated language that evokes tranquil landscapes. After passing those quiet zones, a crescendo bursts into fullness before landing on a bass pedal, axis of an atmospheric orchestration. For completion, a rocking rhythm gives a special thrill to the spectacular final section.

“Wide and Far” is an inspired effort with a straight eight feel and emotional gravity. The bass sits in an irresistible groove adequately supported by the drummer, but shifting in nature and tempo at particular passages. Populated by warm and soulful tones, this piece has a similar narrative vibe of that presented on the album We Live Here (1995), and this impression is transferred to “Same River”, a 3/4-metered piece propelled by an unfailing contemporary pop rhythm and designed with multiple guitar effects. Also waltzing, but with a romantic touch, “You Are” relies on a chordal chain that keeps moving in sequence. Although adhering to this circuitousness, the band sees Sanchez expanding the steady rhythmic bed with his grandiose drumming. By the end, the tune is gussied up by atmospheric vocal effects.

Whereas “Everything Explained” (the only piece with orchestral arrangement by Metheny) sounds very rootsy and folkish, “Pathmaker” nearly touches the Brazilian jazz idiom in its immersive crossover genre. In turn, the title track is a pop ballad prone to film scoring. Conveying disappointment but also hope in a better future, this piece was composed in the morning after Trump’s election and features lyrics by Alison Riley sung by her partner Meshell Ndegeocello.

Metheny brings richness to another couple of ballads. Both “The Past in Us” and “Love May Take a While” are introspectively brushed by Sanchez, but if the former piece spotlights the heart-breaking melodies of guest harmonicist Gregoire Maret, the latter is illuminated by the top-of-the-heap sensibilities of the guitarist, imparting a classic bolero feel right before its conclusion.

Conceived with perspective, developed with maturity, and sparkling with effulgence, this journey takes us to places worth visiting.