[SACD-R][OF] Pat Metheny Group - Offramp - 1982/2017 (Jazz, Fusion, Modern Creative, Contemporary Jazz)

Offramp is the third album by the Pat Metheny Group, released in 1982. It won the Grammy Award for Best Jazz Fusion Performance. It contains the popular ballad “Are You Going with Me?”.
Offramp is the first studio album on which Metheny used a guitar synthesizer, a Roland GR-300 controlled with a Roland G-303 guitar synthesizer controller. The guitar synthesizer became one of Metheny’s most frequently used instruments.
Offramp is also the first Pat Metheny Group album to feature vocals, which became a fundamental component of the band’s sound. When Metheny and Lyle Mays partnered with Brazilian percussionist Naná Vasconcelos on the album, As Falls Wichita, So Falls Wichita Falls, they sought to expand the potential of the recording studio as an ensemble instrument and experiment with sounds they hadn’t previously utilized. Some of the innovations introduced on Wichita carried over into Offramp, namely Vasconcelos’s vocals and percussion stylings.
Bassist Mark Egan was replaced by Steve Rodby, who remained with the group well into the 2000s and became an important partner in the compositional and production processes between Metheny and Mays.
The group pays tribute to one of Metheny’s biggest influences, pioneering free jazz instrumentalist Ornette Coleman, on the title track, and singer-songwriter James Taylor served as the inspiration for the sixth track, “James.”

All Music Review
If 1980’s As Falls Wichita, So Falls Wichita Falls was defined by Pat Metheny’s charisma, its less accessible but certainly rewarding successor, Offramp, finds him leaning more toward the abstract. But as cerebral as Metheny gets on such atmospheric pieces as “Are You Going with Me?” and “Au Lait,” his playing remains decidedly lyrical and melodic. Clearly influenced by Jim Hall, the thoughtful Metheny makes excellent use of space, choosing his notes wisely and reminding listeners that, while he has heavy-duty chops, he’s not one to beat everybody over the head with them. Even when he picks up the tempo for the difficult and angular title song, he shuns empty musical acrobatics. Throughout the album, Metheny enjoys a powerful rapport with keyboardist Lyle Mays, who also avoids exploiting his technique and opts for meaningful storytelling.