Other answers are saying in the uncensored tape he says Dave Liebman

mr p.c. - coltrane

Familiar with the guy? Martijn van Iterson?

@@ArnaudSiemons yes

Potter?!? God no. I think Potter's participation in the Unity Band would suggests Metheny has a lot of respect for him, to put it mildly. I did read someone (NOT me) suggest he may be referring to David Liebman because of the reference to harmonic sophistication, but no confirmation.

@@micpoc4597 Pat did a colab with Liebman this year I think..

@@svensvensson6705 I think he has in the past as well; again, it's just something I read somewhere. I guess we'll never know.

@@micpoc4597 probably ;)

This.

I'm finding that while Pat's harmonic vocabulary is definitely rich, I don't think he tends to think in terms of scales and modes as much as he thinks in arpeggios/chord-tones, extensions, and altered extensions. In fact, a lot of his playing would be traditionally considered harmonically unjustifiable, but he's able to pull it off through his ability to still resolve to chord tones on strong beats or by the rhythmic/structural phrasing and logic of his lines. I think all of this is elucidated by examples in his actual playing here, as well as by what he says here. "If you have great time, you can play anything". Notwithstanding the dubious simplicity of this advice, I think having great time in the Methenian sense isn't just having a steady tempo and even subdivisions in your playing, it's knowing where you are at any particular time in a song's form, when and how to add more tension to your lines in the greater context of a solo, etc. He's not saying harmony is unimportant. He's simply stressing the rhythmic dimension in using harmony that is inseparable from it, that for must of us tends to be an afterthought.

In sum, it's not so much what you play as much as how you play it. That's the greatest takeaway for me. If you try to learn this solo by only paying attention to what notes he plays, but ignore his articulations, dynamics, rhythmic feel, eg how the line is actually being played, I GUARANTEE you, it will sound uncharacteristic, boring, and uninspired. The soul of a line, the character of a line's sound is in HOW the line is played.

@@trevorbadger91 I'm learning what he played in this video too. It's a treasure trove of great phrasing, rhythmic variation, and dynamics. I've been playing for 30 years or more now, and my technique is as solid as it will probably ever be. However, my phrasing is awful- just awful. I spent so much time learning technique that I ignored the most important aspect of music- making music. I've been listening to this video for years (I've made an audio copy of it and listen to it in my car) I've worked very hard in order to hear eighth notes, triplets, sixteenth notes, etcetera in my mind while I am soloing- I've gotten pretty good at that. However, my phrasing- ugh! I've also been learning a lot from Peter Farrell's videos. He is a student of George Benson, and he talks about a lot of the same stuff that Metheny talks about. I've had lots of teachers, and even graduated with a Masters in music, and no one ever told me the things that I've learned from this video and from Peter Farrell's videos. This is top tier information that only the top 1% of jazz guitarists seem to know about. It's what separates them from the rest of us. Yeah, I can play their stuff, but there was always something missing when I played their lines. I didn't sound as good as them even if I was playing the exact same notes. I sounded like crap. I never knew why, but now know why. Judging by what you've written here you seem to know why too.

21:35 who is he talking about?

@@svensvensson6705 yes,it was edited out. Who would you guess he is talking about?

Think he means complete control. U wouldn't want true triplets though , doesn't sound good