Chords for The Ibanez Pat Metheny Interview

_ _ [D] _ _ _ _ [C#m] _ _
[B] _ _ [E] _ _ _ _ [C#m] _ _
_ _ [E] _ _ _ _ [F#] _ _
[E] _ _ _ _ _ _ _ _
_ _ _ _ _ _ [G#] _ _
_ _ _ Guitars are kind of like screwdrivers for me.
They're tools.
They're things to kind of bring ideas into life
and to manifest through sound, you know, kind of stories.
You know, for me, it's really a very kind of almost simple operation,
this sort of connection between an idea
and sort of a way of making that idea available to listeners. _
And in my case, I kind of wound up on the guitar. _ _
You know, I'm chronologically right at that age
that fits the exact pattern of so many,
probably millions of other people who kind of, you know,
saw the Beatles on the Ed Sullivan Show, you know,
fill in the blank with that trajectory.
Where my story _ actually turns out to be significantly different
is that not long after that moment,
my older brother brought home a Miles Davis record,
and I became, you know, _ kind of really oriented
around an entirely different universe.
And this also had to do with the geographical location for me
of being around Kansas City, Missouri, near where I grew up,
where there was a very active, _ you know, improvised music scene,
you know, that was kind of revolving around, you know,
organ trio type sound of the 60s and early 70s.
And, _ _ you know, I completely immersed myself in that world.
And I do remember the first time I saw an Ibanez guitar,
which would have been in the early going of the Ibanez company.
And it was _ a jazz guitar, of which at that time
there kind of weren't that many the same like there are now.
I mean, it wasn't like there were a million boutique builders.
I was impressed.
I was like, wow, this is something different.
You know, what is that?
Because I was used to mostly, you know, American-made guitars.
And as I started to go [B] to Japan, which was my first trip there,
was in _ 1978, _ _ _ _ not the first time, but the second time I was there, _
_ _ Fritz from Ibanez came and, _ you know, said he really enjoyed the music,
which, of course, I appreciated,
_ and that they were interested in making a guitar for me.
And my first reaction was, wow, that's amazing.
And _ then the next time I came back to Japan, he had a prototype for me.
And I was like, wow, that's really something.
And this is actually the first prototype of this guitar. _ _ _ _ _
_ _ [Em] _ _ _ _ [D] _ _
_ _ _ _ _ _ _ [Gm] _
_ _ _ [C] _ _ _ [F] _ _
_ _ [F#m] _ _ _ _ [D] _ _
_ _ [A] _ _ [D] _ _ [G] _ _
_ _ [F#m] _ _ [Bm] _ _ [Em] _ _
_ _ [D] _ _ _ _ [Em] _ _
_ _ [C] _ _ _ _ _ [E]
[Bm] It [D] felt [F#] fantastic right from the [A] beginning.
And _ [E] it was an instant fit for me.
And honestly, I kind of hung in there with my other guitar
out of superstition and, you know, familiarity
for probably longer than I might have.
_ But it happened that there was a situation that came up
where I had to leave my main guitar someplace
and come to New York to do a record dig,
and that record was Question and Answer with Dave Holland and Roy Haynes.
And _ _ that was the first time I used this guitar
all the way through an entire [G#] record. _
[Bm] That was in 1989.
_ From that moment of Question and Answer on until now,
this has [G#] been my main guitar.
I've used it for everything. _ _ _ _ _
_ _ [C#] _ _ [A] _ _ _ _
_ _ [B] _ _ [Em] _ _ [F#] _ _
_ _ [Fm] _ _ [G] _ _ [C#] _ _
[G] _ [F] _ _ _ [C#m] [G] You know, a guitar, including this one, including my old guitar,
at its best, should be somewhat neutral to the player. _ _
For me, what I really love about these guitars
is that they are _ _ kind of available.
They're kind of open to whatever I [Bm] put into them. _ _
_ _ _ _ [C#] _ _ [Am] _ _
_ _ _ [D] _ [F] _ _ [G] _ [F] _
_ _ [A#] I could pick up either of these [C] instruments, which I don't really know,
[A] and I could go play a [F] gig on it right now, and I know it would be fine.
[Am] It would sound good, it would feel good.
That kind of thing is something really [D] valuable to me, _
[C#] given the lifestyle that I have as a touring musician. _
These instruments are really, really robust.
I mean, we'll play in Norway, and then two or three days later in Morocco,
where the temperature extremes would just put _ maybe my previous instrument
or a very personality-based instrument through incredible changes.
[F#m] Man, with these, I don't even think about it.
[E] They're just _ _ incredibly [F] strong instruments
that always give back what you put into it.
And [E] _ that has been true over _
[G] what is now.
I mean, if I think from 1989 _ [C] to now,
I mean, that's a significant amount [D] of time
that this instrument [Em] has [C] not only survived that, but just been incredible.
[F] _ _ _ _ _ _ [Am] _ _ _ _
_ _ [Em] _ _ _ _ _ _
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