●一九九三年葛莱美奖最佳现代爵士乐演奏奖 　　●专业音乐网站AMG四颗半星高评价 　　 　　派特‧曼席尼是一位兼具技巧和个性的吉他天才，他永远知道在是当时机寻求音乐创作上的突破，并在过度自我表现之后，重新思考与乐迷之间的亲疏关系。就像他一九九二年令乐坛备感突兀与惊讶的个人专辑《沉默临界点》一样，因为过度违反先前精致唯的制作概念，让习惯『悦音』的乐迷望之却步。然而他也是位调适得宜的巨匠，当个人的实验与体会一旦结束，他就立刻收起玩心重新与乐团融为一体。 　　 　　麦席尼随后在一九九三年以这张回归九○年代前后广受欢迎的风格展开一系列演出，于是这张以融合流行、古典、爵士、甚至巴西音乐质素的现场作品「欧洲巡回现场演奏专辑」，便重新掳获新旧乐迷的注意力。 　　 　　现场演出的11首乐曲包括多首取材自《老生常谈》与《家书》两张专辑的演奏，乐团成员的默契更可从演奏间清楚明了。几首过去创作的精彩曲目“Have You Heard”、“Better Days Ahead”、“Last Train Home”与他葛莱美奖的早期得奖作品“First Circle”，现场听来仍旧悦耳动听。 73分钟的音乐会听下来，就像亲临现场一般，不时也会像现场观众一样感同身受的给予热烈掌声。 　　by Alex Henderson 　　When Metheny celebrates his cerebral side, he usually follows up with something more accessible. After his difficult yet rewarding collaboration with John Scofield, I Can See Your House from Here, Metheny stresses accessibility with this captivating live album. The primary focus is on his Brazilian-influenced material from Still Life (Talking) and Letter from Home, and the very cohesive Pat Metheny Group offers characteristically expressive versions of such favorites as "Have You Heard," "Beat 70," and "Better Days Ahead." While he could have offered a wider variety of material and perhaps revisited some of his early gems, everything that he does include comes across as honest and heartfelt. Thankfully, Metheny's emphasis on accessibility and crowd-pleasing doesn't come at the expense of his artistic integrity.