Pat METHENY & Lyle MAYS' Most BEAUTIFUL Song EVER Recorded..?

When guitarist Pat Metheny and pianist Lyle Mays collaborated, they often created music that felt timeless—bridging lyrical improvisation, harmonic sophistication, and emotional depth. Among their most poignant creations is September Fifteenth, a composition born not just of artistry, but of reverence for one of jazz’s most influential figures: pianist Bill Evans. The title September Fifteenth is not arbitrary. It refers to September 15, 1980, the day Bill Evans passed away at the age of 51. Evans had been a towering figure in modern jazz, reshaping piano trio interaction with his conversational, democratic approach to ensemble playing. For Pat and Lyle—both deeply influenced by Evans’ harmonic palette and lyrical phrasing—his passing was both a personal and artistic loss. Pat and Lyle were in the midst of preparing material for the Pat Metheny Group’s album As Falls Wichita, So Falls Wichita Falls, recorded in Oslo in 1981. While much of the record leaned into expansive soundscapes and energetic group interplay, September Fifteenth stood apart: an intimate, duo piece with only guitar and piano. Behind the scenes, the decision to strip the instrumentation down was deliberate. Pat and Lyle wanted to create something that reflected Evans’ own aesthetic—subtle, harmonically rich, and intimate. Instead of grandeur, they pursued restraint. Instead of complexity for its own sake, they sought clarity of emotion. September 15th is a beautiful, meditative piece. The structure of the piece is quite unique, blending jazz sensibilities with classical and ambient elements. The piece is essentially through-composed. It unfolds gradually, almost like a tone poem, with no obvious chorus or verse repetition. Its structure is more organic and evolving, closer to classical impressionism than traditional jazz song form. The piece begins with quiet, searching piano voicings—Lyle evoking the delicate touch and impressionistic harmony Evans was known for. Pat enters with a melody that is both elegiac and hopeful, a balancing act that mirrors the dual emotions of loss and gratitude. In their working sessions, Pat and Lyle reportedly aimed not to “imitate” Evans, but to let his influence inform their choices. Lyle’s chord voicings nod to Evans’ signature lush harmonies, while Pat’s phrasing conveys the kind of lyrical introspection that Evans inspired in generations of musicians. Pat and Lyle use extended harmonies and modal shifts that recall Bill Evans’s harmonic language. Harmonies are voiced widely on piano and guitar, creating open, spacious textures. The main melodic line is simple, lyrical, and understated, almost hymn-like. It feels like it emerges naturally from the harmonies, reflecting Evans’s influence of making melodies grow organically. What makes September Fifteenth so moving is its conversational quality. The piece is less about soloing and more about dialogue—two voices intertwining, listening, and responding. This mirrors Evans’ philosophy of the trio as a democratic unit, where piano, bass, and drums were equals in musical conversation. Pat and Lyle, in their duo setting, carried that spirit forward. The combination of Pat’s guitar and Lyle’s piano creates a delicate conversation, with one instrument often complementing rather than competing. It blends improvised passages with carefully composed sections. The overall effect is ambient, intimate, and contemplative, like a quiet reflection or prayer. Over four decades later, September Fifteenth remains one of the most emotionally resonant pieces in the Pat Metheny Group’s catalog. It mirrors Bill Evans’s harmonic innovations, lyrical simplicity, and reflective spirit. It not only honors Bill Evans, but also showcases the depth of the musical partnership between Pat and Lyle — a partnership rooted in empathy, shared influences, and an almost telepathic musical understanding. For listeners, the song is both a farewell and a celebration: a reminder of Evans’ lasting impact, and a testament to the way great musicians process grief through creation.