The jazz world was delivered a blow on February 11 when the word came out that one of our finest jazz pianists, Lyle Mays, had died. I first heard Mays play in 1978 when I saw the Pat Metheny Group in Telluride. Besides Pat Metheny's guitar playing, it was Mays' powerful piano and synth prowess that changed the way I thought about music. He was a master of harmonic realms and a skilled improviser, with a touch of a classical pianist. After that show, I was hooked and ended up seeing the Pat Metheny Group, with Mays, play about 25 times over 25 years. Mays was Metheny's musical partner and muse, and the music they composed was sublime, melodic, and beautiful, album after album. Besides his virtuoso piano playing, May's signature analog synth ocarina sound was his hallmark, and many musicians since have programmed their digital synthesizers to sound like Lyle.

Lyle Mays was born in 1953 in Wausaukee, Wisconsin, and by age nine was playing the piano and organ, after studying classical music. It was at the music camp that he began listening to Jazz, and albums by Bill Evans, Wayne Shorter, Keith Jarrett, and Miles Davis influenced him greatly. In college at North Texas State, a prominent jazz school, he became one of the top musicians, and after graduation, joined Woody Herman's Big Band for a European tour. It was in 1974 that he met the young guitar prodigy, Pat Metheny, and the two began a close collaboration of composing and playing music.

His work with Metheny is nothing short of extraordinary, as he co-wrote some of the Pat Metheny group's most beautiful music, and joined Metheny on the wondrous duo album, As Falls Wichita, So Falls Wichita Falls. It was on that album that he and Metheny gave us the long ethereal title track, he played the extraordinary piano solo on Ozark, and they performed quite possibly their most beautiful and poignant tune, September 15, in honor of the pianist Bill Evans. On the album Pat Metheny Group, Mays quarterbacked the piece, San Lorenzo, with quite possibly his most heartfelt solo, filled with passion, jazz prowess, and grace. He reprised that work on the album Travels, and his rendition that time around still can bring tears to my eyes. I could go on, as Metheny and Mays composed and performed song after song, a legacy of musical beauty, lyricism, and sheer virtuosity. May's death is a huge loss that cannot be replaced.

Mays spent almost thirty years with the Pat Metheny Group, touring and recording, and still had time for some fantastic solo projects, such as his namesake Album, Lyle Mays. His swan song with Metheny was 2005's The Way Up. A three-part Jazz symphony that I was lucky enough to see at the Lisner Auditorium at GWU that year. After that tour, much to every fan's dismay, and mostly retired from the Group and became an architect and computer coder—a renaissance man. His protege Alex Sill said, "I realize one of the biggest lessons Lyle imparted, and that is that one's interests outside of music can inform our music, making for the better, and lead us to become more integrated human beings." We'll miss him.

Here is a partial list of recommended albums and songs by Mays to listen to, you will not be sorry.

Pat Metheny Group--Pat Metheny Group (1978) --This signature album has some of the earliest and greatest tunes Metheny and Mays wrote. Besides San Lorenzo, listen to May's solo on Phase Dance, which is joyous, and on Lone Jack, a more straight-ahead expression of his Jazz sensibility.

American Garage--Pat Metheny Group (1979)--On the tune The Search, Mays introduces us to his ocarina synth sound, which he would use again and again. On The Epic, he continues with a progressive rock feel in his synth playing, getting the best out of his Oberheim 8 Voice and Prophet 5 synths. He gives us another acoustic piano solo that is unmatched in its complexity and beauty.

As Falls Wichita, So Falls Wichita Falls--Pat Metheny and Lyle Mays (1981) While a duet album, Mays is the true influence and lead player here, as he holds together the sprawling title track— and avant-garde epic from the heartland; and gives powerful performances on September 15, Ozark, and It's for You.

Travels--Pat Metheny Group (1983) Recorded during the 1982 tour; this album includes a few tunes not found on other Metheny Group albums. Mays' work on Straight on Red and San Lorenzo are nothing short of genius.

First Circle—Pat Metheny Group (1984) After the crazy Forward March that saw the Band marching into the concert hall with Mays on bad trumpet listen to the title track Tell It All, and Mas Alla (Beyond), a great Mays performance with Pedro Aznar on vocals.

Lyle Mays—Lyle May (1986) In his first solo effort, Mays brings his signature to the music, breaking from the Metheny Group sound for a more relaxed and organic style. Guitarist Bill Frissell and bassist Mark Johnson ad much to his laid back sound, but this is not smooth Jazz. I like Highland Aire, the solo piece Mirror of the Heart, and the very popular Close to Home.

Still Life (Talking)—Pat Metheny Group (1987)—Pat Metheny Group Another masterpiece, this time infused with Brazilian rhythms. Listen to Mays and Metheny's Minuano (sixeight) and Third Wind. Two of my favorites.

Letter From Home—Pat Metheny Group (1989) A great album, listen to the title track, perhaps one of May and Metheny's greatest tunes.

Please listen to my Lyle Mays playlist on Spotify at tinyurl.com/v75ctbf.

Steve Chase is in Unison, in awe of the musical legacy of Lyle Mays.