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Roadie
- A True Story
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After making a switch in 1978, graduating
from the stage monitor mix to the main mix, I had the
chance to work with Pat Metheny. The first show was
at his alma matter Berklee College of Music in Boston.
He was to open for Jean-Luc that night, with his original
quartet that included Lyle Mays, Mark Egan and Dan Gottlieb.
His band was virtually unknown at that point, but to
jazz fans around the world today he is a very familiar
name.
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Pat played the six and twelve string guitars (still does),
while Lyle was on keyboards, Mark on bass, and Dan was the
drummer. Pat's style was a form of traditional jazz but with
a modern flavor. If Ponty's music was Classical Jazz Rock,
Pat's music would have to be Jazz-Soft Rock. Lyle's use of
autoharp gave the songs an open "airiness", while
Pat's style of playing the guitar reminded me very much of
Larry Coryell. The album they had just released was simply
titled "Pat Metheny Group" and sported a plain white
cover. Among others, they performed the classic Metheny tunes,
"Jaco," and "San Lorenzo" that night.
I discovered that this fledgling band didn't have a sound
man yet; I don't even think they had a band roadie (I vaguely
remember the band setting up their own equipment at the Berkley
gig). I was to mix their sound at the performing arts center
that first night, and I was thrilled. Pat came out to the
board, and supervised the sound check. He seemed pleased,
and reminded me several times to use as little volume as possible.
"Just amplify it so everyone can hear, don't overwhelm
them with volume," he said. "Whatever you'd like,
it's your show," I replied.
They were very well received at that show and the many others
that they opened for us during the tour. Word of Pat and his
group had started to get out to the true jazz fans, and his
new following was evident during the ovations he got with
us. During the last show we were to play together during 1978,
and after his band had already played their set; Pat asked
me if he could watch Jean-Luc's show with me from out at the
main board. "Sure." As Ponty and the band took the
stage, the power of the opening song "Cosmic Messenger"
had Pat concerned. At the end of the song he whispered to
me, "Does Jean-Luc know you mix the sound this loud?"
"Yes", I said confidently, "he likes it to
be powerful like this". Pat sat there the whole show,
watching and listening, as I subtly raised the volume an imperceptible
amount each song. By the encore the hall was rocking. The
fans were on their feet stomping and clapping to the beat
of "New Country." Pat thanked me for allowing him
to sit there with me, and congratulated me on a great show.
The following year Pat opened for us on the "Taste of
Passion" tour. Things would be different.
An entire year had gone by, and Pat had grown in popularity.
He was still the opening act for Ponty, but arguably could
have headlined in some cities. As the sound check approached,
I was truly excited about mixing one of my favorite artists.
I was completely deflated as an unfamiliar roadie walked up
to the board, and announced himself as Pat's sound man. "Oh,"
was about all I could manage to say. Upon collecting myself
I continued, "I'm Karl, Ponty's production Manager and
Sound Man, if you need any help let me know since I used to
mix for Pat as well." "Thanks, but I've got it,
Pat is very particular about how he likes his sound."
I silently watched as the sound check for Pat's group took
shape. Near the conclusion, as the entire band played a song
together, I couldn't help but notice that it was every bit
as loud as when I mix Ponty. "It's a little loud, don't
you think?" I asked the new sound guy. "Pat likes
it this way, he wants the music to be powerful." "Really?"…
I asked with a smirk, "I wonder where he got that idea
from?"
All Rights Reserved. Copyright © 2001 Karl Kuenning
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