Twenty-four years have passed since the world-renowned guitarist Pat Metheny, born in Missouri in 1954, left Vigo with a performance that many still regard as one of the city’s finest concerts. This Friday at 21:30, as part of the Xacobeo Importa Cycle, the moment will be re-experienced by those who witnessed it and by those who wish they had. The event will take place at the Mar de Vigo Auditorium, inviting a new generation to hear a musician whose voice in guitar continues to resonate through time.
You are among the most celebrated guitarists on the planet, yet you consistently seek to avoid exclusive circles by collaborating with a wide range of artists. Do you find it difficult to shed preconceptions about your work?
From a clear, reflective stance, the musician explains that keeping perspective outside of personal projects is a constant challenge. The aim is simple: to craft music that feels true and beloved. He notes that he does not rely heavily on external trends or current scenes. Instead, he concentrates on a steadfast goal. Since he was twelve, the focus has always been to understand music at its core and translate his ideas into sound, a process that remains the guiding thread of his career.
His discography and collaborations are extensive and esteemed, and awards such as a Goya have recognized his impact. Is there anything left for him to accomplish musically?
Gratitude accompanies every form of recognition in the cultural sphere, yet it is not the primary objective. He shares a humorous image of his home walls, free of prize displays, to illustrate a core philosophy: each day is a fresh start. He approaches new projects with humility and a commitment to strong musical outcomes, appreciating every opportunity that has come his way while keeping the ultimate goal firmly in view: making meaningful, high-quality music.
There are occasional references to his concise, boundary-pushing frames of jazz. How does he respond to the idea of narrow genre labeling?
He expresses a distaste for pigeonholing music into rigid tags. Terms like alternative or classical feel constraining to him, because music, in his view, transcends categories. To him, music is a living language that surpasses cultural borders. Labels resemble fashion rules more than musical truth, and the essential act is listening and interpretation rather than fitting into a stereotype.
When asked to identify turning points from his own perspective, not the critics’, he points to two defining moments. The first came at fourteen, when invitations to perform reached him from Kansas City, a hub of musical possibilities. Playing with remarkable musicians there marked a pivotal shift in his confidence and direction. The second moment occurred at eighteen, when he joined vibraphonist Gary Burton’s group as a guitarist in his quartet. The experience felt transformative, comparable to joining a legendary band, with mentors like Burton and bassist Steve Swallow shaping his artistic development in profound ways.
Regarding his ties with Spanish-origin music, what is the nature of his relationship with national musicians?
He reflects on Spain as a place intimately connected to guitar’s history. The friendship with flamenco icons is meaningful and enriching, especially with Paco de Lucía and Vicente Amigo, two figures he deeply admires. Yet, he emphasizes that although Spanish players share a six-string instrument, his approach to the guitar remains rooted in American improvisational ideas. He highlights how the instrument serves as a vessel for ideas drawn from Parker and Charlie Parker, blending influences into a personal, evolving interpretation that transcends borders.
Now, a few brief questions: which deceased jazz musician would he have liked the chance to play with?
He feels fortunate to have already collaborated with many heroes, but two names stand out. Charlie Parker and John Coltrane represent peaks in the evolution of jazz that he would have loved to witness live, even if only as an observer, to learn from their improvisational genius. He would have cherished the chance to hear them perform in person.
Among those who shared the stage throughout his career, which collaboration was most meaningful to him?
He stresses that every musician brings a unique story and presence, and he values the entire spectrum of collaborations equally. It would be impossible to single out just one experience above the others because the exchange itself holds intrinsic value for him.
Could you name a disc that has left a lasting impact on you?
He mentions the album Miles Davis Quartet and More as a touchstone, a record that encapsulates a certain spirit and exploration he respects highly. It stands as a significant beacon in his listening and playing journey.
And what was the first song he learned to play?
He admits it might surprise some listeners, but the first tune etched into his memory was Garota de Ipanema, a moment that foreshadowed a lifelong fascination with melody and groove, a playful starting point that reminds him how early experiences can shape a musical path.