Pat Metheny
De Mattia Luigi Nappi - Trabajo propio, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=4681310
Fuente Wikipedia:
Patrick Bruce Metheny (/məˈθiːni/ mə-THEE-nee) nacido el 12 de agosto de 1954, es un guitarrista y compositor estadounidense de jazz.
Es el líder del Pat Metheny Group y también está involucrado en dúos, trabajos en solitario y otros proyectos paralelos. Su estilo incorpora elementos de jazz progresivo y contemporáneo, jazz latino y jazzfussion. Metheny tiene tres álbumes de oro y 20 premios Grammy y es la única persona en haber ganado Grammys en 10 categorías. Es hermano del intérprete de fiscorno de jazz Mike Metheny.
Metheny nació en Lee's Summit, Missouri. Su padre Dave tocaba trompeta, su madre Lois cantó y su abuelo materno, Delmar, era trompetista profesional. El primer instrumento de Metheny fue la trompeta, con su hermano Mike. Éste junto con el padre y el abuelo tocaban tríos juntos en casa. Sus padres eran fans de Glenn Miller y la música swing. Llevaban a Metheny a los conciertos para escuchar a Clark Terry y Doc Severinsen, pero tenían poco respeto por la guitarra. El interés de Metheny por la guitarra aumentó sobre 1964 cuando vio a los Beatles actuar en televisión. Para su cumpleaños número 12, sus padres le permitieron comprar una guitarra, una Gibson ES-140 3/4.
La vida de Metheny cambió después de escuchar el álbum Four & More de Miles Davis. Poco después, fue cautivado por el álbum de Wes Montgomery, Smokin' at the Half Note, lanzado en 1965. Pat cita que The Beatles, Miles Davis y Wes Montgomery son la mayor influencia en su música.
A los 15 años, ganó una beca de la revista Down Beat para un campamento de jazz de una semana donde fue guiado por el guitarrista Attila Zoller, quien luego invitó a Metheny a Nueva York para ver al guitarrista Jim Hall y al bajista Ron Carter.
Mientras tocaba en un club en Kansas City, Bill Lee, un decano de la Universidad de Miami, se acercó a él y le ofreció una beca. Después de menos de una semana en la universidad, Metheny se dio cuenta de que tocar la guitarra todo el día durante su adolescencia lo había dejado sin estar preparado para las clases. Admitió esto a Lee, quien le ofreció un trabajo para enseñar, ya que la escuela había introducido recientemente la guitarra eléctrica como curso de estudio.
Se mudó a Boston para enseñar en el Berklee College of Music con el vibrafonista de jazz Gary Burton y estableció una sólida reputación como prodigio de la guitarra. [. . .]
Recording information:
Power Station Studios, New York, NY (02/15/1984-02/19/1984);
Power Station, New York, NY (02/15/1984-02/19/1984).
Composers: Lyle Mays; Pat Metheny
Lyricist: Pedro Aznar
Personnel:
Pat Metheny (guitar, acoustic guitar, acoustic 12-string guitar, electric guitar, 12-string guitar, slide guitar, steel guitar, classical guitar, sitar, electric sitar, synthesizer, guitar synthesizer, Synclavier);
Pedro Aznar (vocals, whistling, guitar, acoustic guitar, acoustic 12-string guitar, 12-string guitar, classical guitar, nylon-string guitar, glockenspiel, percussion, bells);
Lyle Mays (trumpet, piano, organ, keyboards, synthesizer, Oberheim synthesizer, Synclavier, bells);
Steve Rodby (electric bass, bass guitar, bass drum);
Paul Wertico (drums, snare drum, cymbals)
Lp Side 1
01 - Forward March - 02:48 min.
Comentario: Glockenspiel – Pedro Aznar
Composición de: Pat Metheny
02 - Yolanda You Learn - 04:45 min.
Comentario: Bells – Pedro Aznar
Sitar – Pat Metheny
Composición de: Pat Metheny, Lyle Mays
03 - The First Circle - 09:09 min.
Comentario: Acoustic Guitar [Nylon] – Pedro Aznar
Composición de: Pat Metheny, Lyle Mays
04 - If I Could - 06:53 min.
Comentario: Synthesizer [Oberheim] - Lyle Mays
Composición de: Pat Metheny
Lp Side 2
05 - Tell It All - 07:55 min.
Comentario: Bells [Agogo] – Lyle Mays
Composición de: Pat Metheny, Lyle Mays
06 - End Of The Game - 07:56 min.
Comentario: Bells, Other [Whistle] – Pedro Aznar
Guitar [Synthesizer] – Pat Metheny
Composición de: Pat Metheny, Lyle Mays
07 - Mas Allá (Beyond) - 05:37 min.
Comentario: Lyrics By, Guitar – Pedro Aznar
Composición de: Pat Metheny, Pedro Aznar
08 - Praise - 04:17 min.
Comentario: Acoustic Guitar [12 String] - Pedro Aznar
Composición de: Pat Metheny, Lyle Mays
8 Temas. Tiempo Total: 00:49:20
flac @ 2795 - 1018,95 MB
LP VinylRip [24 Bit-96 kHz]
by Arend
Reseñas y comentarios:
TomaJazz
http://www.tomajazz.com/perfiles/metheny/pat_pmg_ecm.htm
El período transcurrido entre 1983 y 1986 fue una época de cambio sustancial en la carrera profesional de Pat Metheny. La consagración de su estilo y de su banda, la renovación de la misma, las experiencias con bandas sonoras y sus vivencias en Brasil fueron tan sólo algunos de los elementos que dieron un empuje vital al músico de Missouri. Tras la gira que dio origen a Travels, tanto Nana Vasconcelos como Dan Gottlieb darían por finalizada su colaboración con el Group. Al igual que ocurrió con Steve Rodby, era necesario en este caso encontrar un batería de enorme versatilidad y apertura de ideas, capaz de encajar en el mecanismo del grupo sin hacer ruido pero aportando una visión constructiva derivada de las posibilidades de su instrumento y de su forma de ver la música. Parece que, con esos condicionantes, Paul Wertico fue la elección perfecta. De la zona de Chicago, al igual que Rodby, Wertico no era un batería de jazz al uso. Centrado en un universo musical amplio y libre de etiquetas, ha sido cómplice de músicos tan variados como Paul Winter, Jerry Goodman o Derek Bailey, dedicando una gran parte de su esfuerzo a la investigación rítmica por medio de bandas de libre improvisación o proyectos de sólo percusión. Gracias a la férrea dirección musical de Metheny, Paul fue el batería idóneo para la formación durante casi veinte años, y este First Circle fue el primer ejemplo de ello. La otra incorporación provocó el auténtico punto de inflexión del grupo. Tras las experiencias previas con Vasconcelos, Pat había pensado seriamente en componer temas para voz, utilizando esta como un instrumento más. La percusión era cada vez más necesaria y, de paso, no estaría mal encontrar arropamiento instrumental para el cuarteto base. La elección era un multiinstrumentista, y la veda la abrió el bajista y cantante ocasional Pedro Aznar, argentino de nacimiento e integrante años antes de la banda de Charly García, Seru Giran. Aunque nunca llegó a tocar el bajo en el PMG, Aznar demostró seriedad y compromiso, adaptándose a las necesidades del líder en cada momento. En First Circle y posteriores colaboraciones se hizo cargo de voces, percusiones, guitarras acústicas, vibráfonos, flautas de pan, melódicas, campanas, marimbas e incluso del saxo tenor en algunos pasajes escritos. La huella de Aznar (nada que ver, por fortuna, con José María) fue tan indeleble que ha sido el único músico capaz de incluir una composición propia en un disco del Pat Metheny Group con excepción de Pat y Lyle (el Vidala de Letter From Home - 1989).
Con cimientos tan rocosos el edificio estaba destinado a ser construido con fuerza, lógica y decisión. Meses antes de la grabación de First Circle, Metheny grabó su guitarra acústica para la banda sonora de la película Under Fire, compuesta por el recientemente fallecido Jerry Goldsmith. Las enseñanzas que Pat recogió del gran compositor, así como las inquietudes generadas por éstas, fueron el germen que le impulsaron a componer The First Circle, tema de una belleza tan extrema como su complejidad rítmica. Conceptos de orquestación inundaban las ideas de Metheny y Mays, y la nueva formación favorecía la interpretación de los mismos. La sutil batería de Wertico aportaba musicalidad, su ride hacía caminar al grupo como si cada tema se tratara de un viaje (y volvemos a utilizar términos paisajísticos), Lyle utilizaba distintos y variados sonidos de teclado sin complejos, Rodby variaba entre el profundo sonido a madera de su contrabajo y el timbre pastoso de su bajo eléctrico de cinco cuerdas, Aznar aportaba los toques de color necesarios en cada momento con sus percusiones, el apoyo armónico requerido con su acústica, la profundidad expresiva adecuada con su voz, y Metheny seguía explorando con sus distintas guitarras (entre sus nuevos juguetes, una guitarra eléctrica con sonido de cítara hindú, la electric sitar que se pondría muy de moda años más tarde).
Yolanda, You Learn y Praise daban el aire rockero, pero esta vez algo más sofisticado, sin reminiscencias de los setenta. Tell It All y End of the Game expresaban intentos de difícil búsqueda y experimentación (de hecho pocas veces fueron interpretados en directo), y Forward March aportaba el giro humorístico, representando una especie de marcha militar donde más de uno está desafinado. No obstante el aspecto lírico y melódico no reñido con la sencillez siempre fue señal de identidad de Metheny, y en este disco lo encontramos en If I Could, preciosa interpretación de guitarra acústica en homenaje a Wes Montgomery, y en Más Allá (Beyond), composición de Pat con letra en castellano de Pedro Aznar y cantada por este último.
Otro Grammy y el premio a mejor disco de jazz de Cash Box Magazine adornaron un disco de transición que, a pesar de ser referencia obligada, es una de las obras que menos deja traslucir la evolución como guitarrista e improvisador de Pat Metheny (si bien supone su segunda experiencia como productor). Lo mejor estaba, eso creemos algunos, por llegar.
Acoustic Bass – Steve (tracks: A3 to B1, B3)
Acoustic Guitar – Pat (tracks: A3, A4, B4)
Bass Guitar – Steve (tracks: A2, A4, B2, B4)
Drums – Paul (tracks: A1 to B4)
Guitar [Synclavier] – Pat (tracks: A1, A2, B4)
Percussion – Pedro (tracks: B1 to B3)
Piano – Lyle (tracks: A2, A3, B1 to B4)
Synthesizer – Lyle (tracks: A2, A3, B2 to B4)
Voice – Pedro (tracks: A2, A3, B1 to B4)
Recorded At – Power Station
Lacquer Cut At – PRS Hannover
Design [Cover Design] – Barbara Wojirsch
Engineer – Jan Erik Kongshaug
Engineer [Assistant] – Rob Eaton
Photography By – William Clift
Producer – Pat Metheny
Notas
Additional sheet inside with pictures of the musicians
Recorded February 15-19, 1984 at Power Station, New York
Photographers: Juan Castagnola; William Clift; Paul Natkin
First Circle is a Grammy Award–winning jazz album by the Pat Metheny Group. Released in 1984, it is the group's fourth studio release. Metheny is joined by Lyle Mays on keyboards, Steve Rodby on bass, Paul Wertico on drums, and Pedro Aznar on vocals, percussion, and guitar. First Circle won the Grammy Award for Best Jazz Fusion Performance.
Two personnel changes occurred. Drummer Danny Gottlieb was replaced by Paul Wertico, and the Group was joined by multi-instrumentalist Pedro Aznar, who had already established himself with the band Serú Girán in his native Argentina.
On First Circle, the Group used instruments it hadn't recorded with before, including the sitar ("Yolanda, You Learn"), trumpet ("Forward March"), and agogo bells ("Tell It All"). The first song, "Forward March", with Lyle Mays on trumpet, uses dissonant, out-of-tune chords and shifting time signatures. On putting the song first, Metheny remarked that it "seemed like a good idea at the time."
This was the first Group album to feature a song with written lyrics, "Más Allá," by Aznar.
First Circle expanded the scope of the Group's music. In a podcast retrospective, Metheny remarked that the album brought the Group to a creative high that he had been seeking since its foundation. "With the record, First Circle, I finally felt like the Group was what I hoped it might be someday...there was this feeling of, 'Okay, we've done it. We can go anywhere now.'" He stated that First Circle, Still Life (Talking), and Letter from Home, among the Group's most popular albums, were part of a trilogy connected by their musical explorations and accessibly melodic personalities.
Along with "Phase Dance" and "Are You Going With Me?", the album's title track, "The First Circle", became one of the Group's most popular songs.
Pat Metheny & Lyle Mays
Notas
Recorded September 1980 Talent Studio, Oslo
Special thanks to Steve Swallow
An ECM Production
℗ 1981 ECM Records GmbH
Créditos
Autoharp, Composed By, Organ, Piano, Synthesizer – Lyle Mays
Bass, Composed By, Guitar – Pat Metheny
Berimbau, Drums, Percussion, Vocals – Naná Vasconcelos
Design – Barbara Wojirsch
Producer – Manfred Eicher
01 - As Falls Wichita, So Falls Wichita Falls - 20:46 min.
02 - Ozark - 04:04 min.
03 - September Fifteenth - 07:45 min.
04 - It's For You - 08:20 min.
05 - Estupenda Graça - 02:41 min.
5 Temas. Tiempo Total: 00:43:36
flac @ 735 - 220,63 MB
RipBy: Napi#08
DiscoGs
Pat Metheny & Lyle Mays – As Falls Wichita, So Falls Wichita Falls
Sello:
ECM Records – 821 416-2, ECM Records – 821 416-2 Y
Formato: CD, Album
País: Germany Fecha 1981
Género: Electronic, Jazz, Latin
Estilo: Leftfield, Smooth Jazz, Contemporary Jazz, Fusion, Ambient, Post Bop
Créditos
Berimbau, Percussion, Drums, Vocals – Nana Vasconcelos
Design – Barbara Wojirsch
Electric Guitar, Acoustic Guitar [6 And 12-string], Bass – Pat Metheny
Piano, Synthesizer, Organ, Autoharp – Lyle Mays
Pat Metheny Group First Circle
1984
Power Station Studios, New York, NY (02/15/1984-02/19/1984);
Power Station, New York, NY (02/15/1984-02/19/1984).
Composers: Lyle Mays; Pat Metheny
Lyricist: Pedro Aznar
Personnel:
Pat Metheny (guitar, acoustic guitar, acoustic 12-string guitar, electric guitar, 12-string guitar, slide guitar, steel guitar, classical guitar, sitar, electric sitar, synthesizer, guitar synthesizer, Synclavier);
Pedro Aznar (vocals, whistling, guitar, acoustic guitar, acoustic 12-string guitar, 12-string guitar, classical guitar, nylon-string guitar, glockenspiel, percussion, bells);
Lyle Mays (trumpet, piano, organ, keyboards, synthesizer, Oberheim synthesizer, Synclavier, bells);
Steve Rodby (electric bass, bass guitar, bass drum);
Paul Wertico (drums, snare drum, cymbals)
Listado de Temas:
Lp Side 1
01 - Forward March - 02:48 min.
Comentario: Glockenspiel – Pedro Aznar
Composición de: Pat Metheny
02 - Yolanda You Learn - 04:45 min.
Comentario: Bells – Pedro Aznar
Sitar – Pat Metheny
Composición de: Pat Metheny, Lyle Mays
03 - The First Circle - 09:09 min.
Comentario: Acoustic Guitar [Nylon] – Pedro Aznar
Composición de: Pat Metheny, Lyle Mays
04 - If I Could - 06:53 min.
Comentario: Synthesizer [Oberheim] - Lyle Mays
Composición de: Pat Metheny
4 Temas, 23 minutos 35 segundos
Lp Side 2
05 - Tell It All - 07:55 min.
Comentario: Bells [Agogo] – Lyle Mays
Composición de: Pat Metheny, Lyle Mays
06 - End Of The Game - 07:56 min.
Comentario: Bells, Other [Whistle] – Pedro Aznar
Guitar [Synthesizer] – Pat Metheny
Composición de: Pat Metheny, Lyle Mays
07 - Mas Allá (Beyond) - 05:37 min.
Comentario: Lyrics By, Guitar – Pedro Aznar
Composición de: Pat Metheny, Pedro Aznar
08 - Praise - 04:17 min.
Comentario: Acoustic Guitar [12 String] - Pedro Aznar
Composición de: Pat Metheny, Lyle Mays
4 Temas 25 minutos 45 segundos
8 Temas. Tiempo Total: 00:49:20
flac @ 2795 - 1018,95 MB
LP VinylRip [24 Bit-96 kHz]
by Arend
Reseñas y comentarios:
TomaJazz
http://www.tomajazz.com/perfiles/metheny/pat_pmg_ecm.htm
© Arturo Mora Rioja, 2005
El período transcurrido entre 1983 y 1986 fue una época de cambio sustancial en la carrera profesional de Pat Metheny. La consagración de su estilo y de su banda, la renovación de la misma, las experiencias con bandas sonoras y sus vivencias en Brasil fueron tan sólo algunos de los elementos que dieron un empuje vital al músico de Missouri. Tras la gira que dio origen a Travels, tanto Nana Vasconcelos como Dan Gottlieb darían por finalizada su colaboración con el Group. Al igual que ocurrió con Steve Rodby, era necesario en este caso encontrar un batería de enorme versatilidad y apertura de ideas, capaz de encajar en el mecanismo del grupo sin hacer ruido pero aportando una visión constructiva derivada de las posibilidades de su instrumento y de su forma de ver la música. Parece que, con esos condicionantes, Paul Wertico fue la elección perfecta. De la zona de Chicago, al igual que Rodby, Wertico no era un batería de jazz al uso. Centrado en un universo musical amplio y libre de etiquetas, ha sido cómplice de músicos tan variados como Paul Winter, Jerry Goodman o Derek Bailey, dedicando una gran parte de su esfuerzo a la investigación rítmica por medio de bandas de libre improvisación o proyectos de sólo percusión. Gracias a la férrea dirección musical de Metheny, Paul fue el batería idóneo para la formación durante casi veinte años, y este First Circle fue el primer ejemplo de ello. La otra incorporación provocó el auténtico punto de inflexión del grupo. Tras las experiencias previas con Vasconcelos, Pat había pensado seriamente en componer temas para voz, utilizando esta como un instrumento más. La percusión era cada vez más necesaria y, de paso, no estaría mal encontrar arropamiento instrumental para el cuarteto base. La elección era un multiinstrumentista, y la veda la abrió el bajista y cantante ocasional Pedro Aznar, argentino de nacimiento e integrante años antes de la banda de Charly García, Seru Giran. Aunque nunca llegó a tocar el bajo en el PMG, Aznar demostró seriedad y compromiso, adaptándose a las necesidades del líder en cada momento. En First Circle y posteriores colaboraciones se hizo cargo de voces, percusiones, guitarras acústicas, vibráfonos, flautas de pan, melódicas, campanas, marimbas e incluso del saxo tenor en algunos pasajes escritos. La huella de Aznar (nada que ver, por fortuna, con José María) fue tan indeleble que ha sido el único músico capaz de incluir una composición propia en un disco del Pat Metheny Group con excepción de Pat y Lyle (el Vidala de Letter From Home - 1989).
Con cimientos tan rocosos el edificio estaba destinado a ser construido con fuerza, lógica y decisión. Meses antes de la grabación de First Circle, Metheny grabó su guitarra acústica para la banda sonora de la película Under Fire, compuesta por el recientemente fallecido Jerry Goldsmith. Las enseñanzas que Pat recogió del gran compositor, así como las inquietudes generadas por éstas, fueron el germen que le impulsaron a componer The First Circle, tema de una belleza tan extrema como su complejidad rítmica. Conceptos de orquestación inundaban las ideas de Metheny y Mays, y la nueva formación favorecía la interpretación de los mismos. La sutil batería de Wertico aportaba musicalidad, su ride hacía caminar al grupo como si cada tema se tratara de un viaje (y volvemos a utilizar términos paisajísticos), Lyle utilizaba distintos y variados sonidos de teclado sin complejos, Rodby variaba entre el profundo sonido a madera de su contrabajo y el timbre pastoso de su bajo eléctrico de cinco cuerdas, Aznar aportaba los toques de color necesarios en cada momento con sus percusiones, el apoyo armónico requerido con su acústica, la profundidad expresiva adecuada con su voz, y Metheny seguía explorando con sus distintas guitarras (entre sus nuevos juguetes, una guitarra eléctrica con sonido de cítara hindú, la electric sitar que se pondría muy de moda años más tarde).
Yolanda, You Learn y Praise daban el aire rockero, pero esta vez algo más sofisticado, sin reminiscencias de los setenta. Tell It All y End of the Game expresaban intentos de difícil búsqueda y experimentación (de hecho pocas veces fueron interpretados en directo), y Forward March aportaba el giro humorístico, representando una especie de marcha militar donde más de uno está desafinado. No obstante el aspecto lírico y melódico no reñido con la sencillez siempre fue señal de identidad de Metheny, y en este disco lo encontramos en If I Could, preciosa interpretación de guitarra acústica en homenaje a Wes Montgomery, y en Más Allá (Beyond), composición de Pat con letra en castellano de Pedro Aznar y cantada por este último.
Otro Grammy y el premio a mejor disco de jazz de Cash Box Magazine adornaron un disco de transición que, a pesar de ser referencia obligada, es una de las obras que menos deja traslucir la evolución como guitarrista e improvisador de Pat Metheny (si bien supone su segunda experiencia como productor). Lo mejor estaba, eso creemos algunos, por llegar.
© Arturo Mora Rioja, 2005
CréditosAcoustic Bass – Steve (tracks: A3 to B1, B3)
Acoustic Guitar – Pat (tracks: A3, A4, B4)
Bass Guitar – Steve (tracks: A2, A4, B2, B4)
Drums – Paul (tracks: A1 to B4)
Guitar [Synclavier] – Pat (tracks: A1, A2, B4)
Percussion – Pedro (tracks: B1 to B3)
Piano – Lyle (tracks: A2, A3, B1 to B4)
Synthesizer – Lyle (tracks: A2, A3, B2 to B4)
Voice – Pedro (tracks: A2, A3, B1 to B4)
Recorded At – Power Station
Lacquer Cut At – PRS Hannover
Design [Cover Design] – Barbara Wojirsch
Engineer – Jan Erik Kongshaug
Engineer [Assistant] – Rob Eaton
Photography By – William Clift
Producer – Pat Metheny
Notas
Additional sheet inside with pictures of the musicians
Recorded February 15-19, 1984 at Power Station, New York
Photographers: Juan Castagnola; William Clift; Paul Natkin
~ Richard S. Ginell
In First Circle, the Pat Metheny Group settled into a lineup that lasted for quite a while -- with Metheny, keyboardist Lyle Mays, bassist Steve Rodby, and new drummer Paul Wertico forming the core quartet. The ever-restless Metheny also mixes up the music, not quite leaving the Brazilian glide behind but coming up with some fascinating permutations always affixed with his personal stamp. "Forward March," the album opener, is a bizarre parody full of detuned instruments and half-cocked trumpet from Mays; one wonders if this was directed at a few silly skirmishes of the day (Grenada? the Falklands?). "The First Circle" has Brazilian elements, but now in the service of a grander architectural context, while nothing could be simpler and yet more sophisticated than the delicate ballad "If I Could." "End of the Game" might be the best track on the record, equipped with a beautiful pop-flavored set of tunes and harmonies, with a rock beat fused to the floating ambience of South America as personified by the new Argentine percussionist/vocalist Pedro Aznar. "Praise," the closer, is an out-and-out rock tune, an affirmative flip side of "Forward March" and the last of a series of delightful surprises.
~ Richard S. Ginell
First Circle is a Grammy Award–winning jazz album by the Pat Metheny Group. Released in 1984, it is the group's fourth studio release. Metheny is joined by Lyle Mays on keyboards, Steve Rodby on bass, Paul Wertico on drums, and Pedro Aznar on vocals, percussion, and guitar. First Circle won the Grammy Award for Best Jazz Fusion Performance.
Two personnel changes occurred. Drummer Danny Gottlieb was replaced by Paul Wertico, and the Group was joined by multi-instrumentalist Pedro Aznar, who had already established himself with the band Serú Girán in his native Argentina.
On First Circle, the Group used instruments it hadn't recorded with before, including the sitar ("Yolanda, You Learn"), trumpet ("Forward March"), and agogo bells ("Tell It All"). The first song, "Forward March", with Lyle Mays on trumpet, uses dissonant, out-of-tune chords and shifting time signatures. On putting the song first, Metheny remarked that it "seemed like a good idea at the time."
This was the first Group album to feature a song with written lyrics, "Más Allá," by Aznar.
First Circle expanded the scope of the Group's music. In a podcast retrospective, Metheny remarked that the album brought the Group to a creative high that he had been seeking since its foundation. "With the record, First Circle, I finally felt like the Group was what I hoped it might be someday...there was this feeling of, 'Okay, we've done it. We can go anywhere now.'" He stated that First Circle, Still Life (Talking), and Letter from Home, among the Group's most popular albums, were part of a trilogy connected by their musical explorations and accessibly melodic personalities.
Along with "Phase Dance" and "Are You Going With Me?", the album's title track, "The First Circle", became one of the Group's most popular songs.
Pat Metheny & Lyle Mays
As Falls Wichita, So Falls Wichita Falls
1981
Recorded September 1980 Talent Studio, Oslo
Special thanks to Steve Swallow
An ECM Production
℗ 1981 ECM Records GmbH
Créditos
Autoharp, Composed By, Organ, Piano, Synthesizer – Lyle Mays
Bass, Composed By, Guitar – Pat Metheny
Berimbau, Drums, Percussion, Vocals – Naná Vasconcelos
Design – Barbara Wojirsch
Producer – Manfred Eicher
Listado de Temas:
01 - As Falls Wichita, So Falls Wichita Falls - 20:46 min.
02 - Ozark - 04:04 min.
03 - September Fifteenth - 07:45 min.
04 - It's For You - 08:20 min.
05 - Estupenda Graça - 02:41 min.
5 Temas. Tiempo Total: 00:43:36
flac @ 735 - 220,63 MB
RipBy: Napi#08
DiscoGs
Pat Metheny & Lyle Mays – As Falls Wichita, So Falls Wichita Falls
Sello:
ECM Records – 821 416-2, ECM Records – 821 416-2 Y
Formato: CD, Album
País: Germany Fecha 1981
Género: Electronic, Jazz, Latin
Estilo: Leftfield, Smooth Jazz, Contemporary Jazz, Fusion, Ambient, Post Bop
Créditos
Berimbau, Percussion, Drums, Vocals – Nana Vasconcelos
Design – Barbara Wojirsch
Electric Guitar, Acoustic Guitar [6 And 12-string], Bass – Pat Metheny
Piano, Synthesizer, Organ, Autoharp – Lyle Mays
Composed By – Lyle Mays, Pat Metheny
Notas
Recorded September 1980 At Talent Studio, Oslo
Special thanks to Steve Swallow
Engineer – Jan Erik Kongshaug
Photography By [Cover] – Klaus Frahm
Photography By [Liner] – Rob Van Petten
Producer – Manfred Eicher
Wikipedia
As Falls Wichita, So Falls Wichita Falls is a collaborative album by Pat Metheny and Lyle Mays, released in 1981. The title makes reference to Wichita, Kansas and Wichita Falls, Texas. The title tune is just under 21 minutes.
It is one of the few albums where Metheny not only acts as both the lead and accompanying guitarist but also the bassist, as each track uses fair amounts of overdubbing. The track "September Fifteenth" is in reference to September 15, 1980, the day the American jazz pianist Bill Evans died. Metheny and Mays cite Evans as a main influence. Both "September Fifteenth" and "It's for You" appear in the score for the 1985 film Fandango. "It's for You" would later be covered by Akiko Yano, with Metheny on guitar, for her 1989 album Welcome Back.
The front cover photograph is a reference to the lyrics of the song "Wichita Lineman" by Jimmy Webb.
AllMusic Review
by Stephen Cook
This joint solo effort by Metheny and regular pianist and collaborator Lyle Mays is an impressive outing. In the process of stretching out away from the confines of the quartet setting of prior albums, Metheny and Mays presage the sleeker and more ethereal sound of the band's Geffen years on portions of the title track. And while this side-long number has some dreamy moments, it also bogs down in a trite climax or two; one gets the sense of a jazz fusion and prog rock marriage Metheny luckily never fully explored.
Minor flaws, really, since the piece holds together in spite of the worrisome lapses of taste. The balance of the album is just fine, with the highlight being the Bill Evans remembrance, "September Fifteenth" (the date of Evan's passing, which occurred while the album was being recorded). Metheny and Mays appropriately opt for a serene and slightly elegiac piano and acoustic guitar duet. The set is balanced out by the fleet Americana of "Ozark" and the streamlined swinger "It's for You." Topped off by integral and tasteful percussion by future band regular Nana Vasconcelos, this 1981 Metheny date is certainly a worthwhile disc for fans to seek out, while not being essential.
Pat Metheny Group Still Life (Talking)
1987
Recorded March/April 1987 at Power Station, NYC.
Digitally recorded, mixed, and mastered Masterdisk.
Créditos
Acoustic Bass, Electric Bass – Steve Rodby
Acoustic Guitar, Electric Guitar, Guitar Synthesizer – Pat Metheny
Drums – Paul Wertico
Percussion, Voice – Armando Marçal
Piano, Keyboards – Lyle Mays
Voice – David Blamires, Mark Ledford
Producer – Pat Metheny
Written-By – Lyle Mays (tracks: A1, B2, B3), Pat Metheny (tracks: A1 to B2, B4)
All Arrangements By – Lyle Mays, Pat Metheny
Listado de Temas:
01 - Minuano (Six Eight) - 09:28 min.
Written by Pat Metheny, Lyle Mays
02 - So May It Secretly Begin - 06:26 min.
Written by Pat Metheny
03 - Last Train Home - 05:41 min.
Written by Pat Metheny
04 - (It's Just) Talk - 06:17 min.
Written by Pat Metheny
05 - Third Wind - 08:38 min.
Written by Pat Metheny, Lyle Mays
06 - Distance - 02:46 min.
Written by Pat Metheny
07 - In Her Family - 03:17 min.
Written by Pat Metheny
7 Temas - Tiempo Total: 00:42:33
Flac @ 770 - 243,75 MB
EAC RipPor Napi#10
Reseñas y comentarios
Pat Metheny Group – Still Life (Talking)
Sello: Geffen Records – GHS 24145
Formato: Vinyl, LP, Album
País: US Fecha: 1987
Género: Jazz Estilo: Afro-Cuban Jazz, Fusion, Contemporary Jazz
Recorded At – Power Station
Pressed By – Specialty Records Corporation
Mastered At – Masterdisk
Créditos
Co-producer – Lyle Mays
Design – M&Co.
Engineer – Rob Eaton
Engineer [Assistant Engineer] – Alexander Haas
Mastered By [Original Mastering] – Bob Ludwig
Other [UPC Code] – Gary Gersh
Photography By [Band] – Andy Freeberg
Photography By [City] – Neil Selkirk
Photography By [Cover, Building] – David Katzenstein
Photography By [Cover] – Alexander Brebner
Photography By [Desert] – Phil Brodatz
Producer [Associate Producer, With] – David Oakes, Steve Cantor
Producer [Associate Producer] – Paul Wertico, Steve Rodby
Production Manager [Production Assistance] – Niki Gatos, Tom Sheehan
Wikipedia
Still Life (Talking) is an album by the Pat Metheny Group that was released in 1987 on Geffen Records. It won the Grammy Award for Best Jazz Fusion Performance and was certified gold by the RIAA on July 2, 1992
This was the Group's first album to be released by Geffen. It combines Brazilian jazz-influenced harmonies and rhythms with jazz, folk, and pop.
Group co-founders Pat Metheny and Lyle Mays joined the Geffen Records label in 1985. After recording and releasing the album Song X and Mays' eponymous debut as a solo bandleader, they hired multi-instrumentalists David Blamires and Mark Ledford for the Group. "They were like super-musicians", Metheny said in the album's podcast retrospective. "They could play just about anything." Metheny held percussion auditions in Brazil, where he hired Armando Marçal.
Metheny stated that while he has no negativity toward ECM Records nor the way the Group's ECM albums were recorded, the label had a very stringent policy: "You recorded for two days, you mixed for a day, that was your record. For better or worse...whether you liked it or not, that was your record." The Group recorded Still Life (Talking) in approximately two weeks, creating a greater opportunity, Metheny continued, to refine the sound for the album.
Since the recording of their album As Falls Wichita, so Falls Wichita Falls, one of Metheny and Mays' goals was to make the recording studio an instrument. To accomplish this for Still Life (Talking), Metheny recorded with a microphone on his guitars to create deeper and more intimate sounds. Additionally, the opening track, "Minuano (Six-Eight)", was created to establish that mantra for the entire album.
Still Life (Talking) was widely acclaimed and won the 1988 Grammy for Best Jazz Fusion Performance. It remains one of the Pat Metheny Group's most popular albums, the first to sell over 500,000 copies and therefore certified gold by the RIAA. Most of the album's songs continued to be played by the Group in concert long after the album's original release, especially, "Minuano (Six-Eight)".
An edited version of the track "Last Train Home" was released as a single to radio. "Last Train Home" was also used in a Christmas commercial by the Florida-based supermarket chain Publix, featuring relatives traveling to Florida by train for Christmas. Metheny jokingly refers to the piece as "The Publix Song" when performing in Florida, as the commercial aired every holiday season from 1987 to 1996. The NPR radio show Radio Deluxe with John Pizzarelli uses the tune as its closing theme.
In 2015, the song served as the end theme of the anime adaptation JoJo's Bizarre Adventure during the second half of the show's Stardust Crusaders arc, and it later became the focus of Essential Collection Last Train Home, a JoJo-themed compilation album for the Pat Metheny Group. The composition has also been featured during The Weather Channel's Local on the 8s playlist since the late 1980s. The retail bedding manufacturer Sleep Train, which operates primarily in California, used the track for their television commercials.
AllMusic Review
While Brazilian music had captured Pat Metheny's attention since the '70s, he placed an especially strong emphasis on Brazilian elements in the late '80s. A master of uniting seemingly disparate elements as a cohesive whole, the imaginative guitarist effectively combines Brazilian-influenced harmonies and rhythm with jazz, folk, and pop elements on "So May It Secretly Begin," "Third Wind," "Minuano (Six Eight)," and other celebrated gems included on Still Life (Talking). The Brazilian leanings are put aside on one of Metheny's most unique offerings ever, "Last Train Home," which boasts a charming Western theme that brings to mind a peaceful journey across the Arizona desert. That may not sound like the description of a jazz piece, but then, making the unlikely a reality is among Metheny's many admirable qualities.
This album came out the summer before my senior year in high school. NONE of my friends listened to or liked this kind of music, but one listen to this album and I was hooked. What's equally awesome is 29-years later, IT STILL SOUNDS EXCELLENT! I was sad to see PMG move past this sound after "Letter From Home."
I own over 18k albums and c.d.'s. This recording has been a favorite of mine seen its release as an album. I already had a mild enjoyment of Pats music, but this was that placed him on a higher level of musical respect in my music appreciation!!
Was this review helpful to you?
I realize Metheny is an artist, and artists have to move on to new things, but it wouldn't have bothered me at all if he'd stayed with this group and this particularly Brazilian influence for the rest of his life. I've never been able to get enough of it. I love most of what Metheny does in his varied and fruitful career, but his work with the Group is, simply put, my favorite music in a long lifetime of listening. A desert island disk to be sure, with nary a misstep on it and every cut a classic in its own way. No wonder he's continued to revisit more compositions from this album than probably any other he's produced.
I used to drive through the Italian and Swiss Alps listening to this when I was teenager - and it still stays with me for more than 20 years now. This is one of the records that once you listen to it for 8-10 times you will always miss it.
Was this review helpful to you?
Part synthesised music always creates polarity - those who like it and those who don't. I find myself on both sides. I liked it earlier when I listened to music casually. Now I purchased the CD and listened to it after years. But don't seem to like it as much. Don't get me wrong - it's beautiful music. Some tracks - Last Train Home especially, are outstanding. There's good sense of harmony and balance. Just that where my musical interests lie today, I would prefer Weather Report for synthesised jazz fusion and Stan Getz for Brazilian Jazz.
As atmospheric music this album is wonderful. Just play it in background and go about your things.
I only discovered this album last year and I'm grateful it's better late than never. A conceptually beautiful collection of tunes and sounds that take the imagination to a million places Still Life Talking remains amazingly fresh 32 years on. The production is impeccable, the musical arrangements are seductive and sophisticated simultaneously. Pat Metheny Group achieved something special with this record. Starting with So It May Secretly Begin makes you feel you are on the beach and/or looking at something breathtaking. Minuano has a mysterious feel to it and that effective yet satisfying addictive echoing sound with Latin singing is so wonderfully used in the right places. The very beautiful and heartfelt Last Train Hometunes into the feeling that - I'm going to be ok because I'm on my way, so much so, that you want to be on that train. This album is made with love and is essential to every collection. A memorable masterpiece. Thank you PMG
Recorded Spring 1997 at
Right Track Recording, New York City
Mastered by Ted Jensen at Sterling Sound,
New York City
Released October 7, 1997
Acoustic Bass, Electric Bass – Steve Rodby
Acoustic Guitar, Electric Guitar, Guitar Synthesizer – Pat Metheny
Drums – Paul Wertico
Percussion – David Samuels, Don Alias, Glen Velez, Mino Cinelu
Piano [Acoustic], Keyboards – Lyle Mays
Vocals, Mellophone, Baritone Guitar, Acoustic & Electric Guitar, Violin, Recorder, Trumpet – David Blamires
Vocals, Trumpet, Flugelhorn, Trumpet Bass – Mark Ledford
01 - Imaginary Day - 10:12 min.
Lyle Mays, Pat Metheny
02 - Follow Me - 05:56 min.
Lyle Mays, Pat Metheny
03 - Into The Dream - 02:27 min.
Pat Metheny
04 - A Story Within The Story - 08:02 min.
Lyle Mays, Pat Metheny
05 - The Heat Of The Day - 09:45 min.
Lyle Mays, Pat Metheny
06 - Across The Sky - 05:14 min.
Lyle Mays, Pat Metheny
07 - The Roots Of Coincidence - 07:49 min.
Lyle Mays, Pat Metheny
08 - Too Soon Tomorrow - 05:48 min.
Pat Metheny
09 - The Awakening - 09:28 min.
Lyle Mays, Pat Metheny
9 Temas - Tiempo Total: 01:04:41
Flac @ 910 - 402,26 MB
EAC Ripped By
Napi#10
Reseñas y comentarios
Imaginary Day is a jazz album by the Pat Metheny Group, released in 1997 by Warner Bros. Records. The album overall was strongly inspired by world music from Iran and Indonesia, and won the 1999 Grammy Award for Best Contemporary Jazz Album. The song "The Roots of Coincidence" won a Grammy award for Best Rock Instrumental Performance; critic Richard Ginnell of Allmusic described the song as a dramatic departure for the group: "[an] out-and-out rock piece with thrash metal and techno-pop episodes joined by abrupt jump cuts."
Translated liner notes, from web.archive.org
https://web.archive.org/web/20050215170805/http://home.wxs.nl/~hoeve803/iday2.htm
INSIDE LINER NOTES
DiscoGs
Pat Metheny Group – Imaginary Day
Sello: Warner Bros. Records – 9 46791-2
Formato: CD, Album
País: US Fecha: 07 Oct 1997
Género: Jazz Estilo: Contemporary Jazz
Compañías, etc.
Recorded At – Right Track Recording
Mastered At – Sterling Sound
Créditos
Co-producer – Lyle Mays, Steve Rodby
Co-producer [Associate Producer] – David Oakes, Rob Eaton
Coordinator [Project Coordinator] – David Sholemson
Coordinator [Technical] – David Oakes
Design [Packaging Design] – Sagmeister Inc., New York
Engineer [Assistant] – Pete Karam
Mastered By – Ted Jensen
Photography By [Studio Photos] – Latifa Azhar
Producer – Pat Metheny
Recorded By, Mixed By – Rob Eaton
Technician [Guitar] – Carolyn Chrzan
Technician [Piano, Piano Tuner] – Tom Sheehan
Written-By – Mays (tracks: 1, 2, 4 to 7, 9), Metheny
AllMusic Review
More than ever, the Pat Metheny Group is into creating thick, exotic, electronic sonic landscapes, and Imaginary Day goes even further out on the cutting edges of technology and global influences than its predecessors. The floating Metheny group signature is often present but with radically reworked textures, and Brazil seems to be off his international itinerary, replaced by whiffs of repetitive Iranian folk music, Balinese gamelan music, and other global influences. Indeed, Metheny only sounds something like his familiar soft-focused self on "A Story Within the Story," playing what amounts to a fine hard bop solo, and the song-like "Across the Sky." At all other times, he expands his sonic palette on various guitar synthesizers and newly minted guitar mutations, at one point assigning an entire solo piece, "Into the Dream," to the 42-string "pikasso guitar," which sounds like a glittering African zither. "The Roots of Coincidence" is a total departure for the group, a gleefully hard-edged, out-and-out rock piece with thrash metal and techno-pop episodes joined by abrupt jump cuts. Along with his core lineup of Lyle Mays, Steve Rodby, and Paul Wertico, Metheny also includes the duo of multi-instrumentalists Mark Ledford and David Blamires adding various horns and things, and four top-line percussionists -- Mino Cinelu, Dave Samuels, Glen Velez, and Don Alias -- replacing departing member Armando Marcal. Through all the experiments, the Metheny Group's music remains uplifting, intelligent, and always accessible to the casual and attentive ear in the late '90s, even as it becomes more portentous. The "words" on the cover art and booklet are written in some kind of strange Esperanto alphabet, with symbols and objects replacing each letter, but there are enough translations in plain English to get you through.
Photography By [City] – Neil Selkirk
Photography By [Cover, Building] – David Katzenstein
Photography By [Cover] – Alexander Brebner
Photography By [Desert] – Phil Brodatz
Producer [Associate Producer, With] – David Oakes, Steve Cantor
Producer [Associate Producer] – Paul Wertico, Steve Rodby
Production Manager [Production Assistance] – Niki Gatos, Tom Sheehan
Wikipedia
Still Life (Talking) is an album by the Pat Metheny Group that was released in 1987 on Geffen Records. It won the Grammy Award for Best Jazz Fusion Performance and was certified gold by the RIAA on July 2, 1992
This was the Group's first album to be released by Geffen. It combines Brazilian jazz-influenced harmonies and rhythms with jazz, folk, and pop.
Group co-founders Pat Metheny and Lyle Mays joined the Geffen Records label in 1985. After recording and releasing the album Song X and Mays' eponymous debut as a solo bandleader, they hired multi-instrumentalists David Blamires and Mark Ledford for the Group. "They were like super-musicians", Metheny said in the album's podcast retrospective. "They could play just about anything." Metheny held percussion auditions in Brazil, where he hired Armando Marçal.
Metheny stated that while he has no negativity toward ECM Records nor the way the Group's ECM albums were recorded, the label had a very stringent policy: "You recorded for two days, you mixed for a day, that was your record. For better or worse...whether you liked it or not, that was your record." The Group recorded Still Life (Talking) in approximately two weeks, creating a greater opportunity, Metheny continued, to refine the sound for the album.
Since the recording of their album As Falls Wichita, so Falls Wichita Falls, one of Metheny and Mays' goals was to make the recording studio an instrument. To accomplish this for Still Life (Talking), Metheny recorded with a microphone on his guitars to create deeper and more intimate sounds. Additionally, the opening track, "Minuano (Six-Eight)", was created to establish that mantra for the entire album.
Still Life (Talking) was widely acclaimed and won the 1988 Grammy for Best Jazz Fusion Performance. It remains one of the Pat Metheny Group's most popular albums, the first to sell over 500,000 copies and therefore certified gold by the RIAA. Most of the album's songs continued to be played by the Group in concert long after the album's original release, especially, "Minuano (Six-Eight)".
An edited version of the track "Last Train Home" was released as a single to radio. "Last Train Home" was also used in a Christmas commercial by the Florida-based supermarket chain Publix, featuring relatives traveling to Florida by train for Christmas. Metheny jokingly refers to the piece as "The Publix Song" when performing in Florida, as the commercial aired every holiday season from 1987 to 1996. The NPR radio show Radio Deluxe with John Pizzarelli uses the tune as its closing theme.
In 2015, the song served as the end theme of the anime adaptation JoJo's Bizarre Adventure during the second half of the show's Stardust Crusaders arc, and it later became the focus of Essential Collection Last Train Home, a JoJo-themed compilation album for the Pat Metheny Group. The composition has also been featured during The Weather Channel's Local on the 8s playlist since the late 1980s. The retail bedding manufacturer Sleep Train, which operates primarily in California, used the track for their television commercials.
AllMusic Review
by Alex Henderson
While Brazilian music had captured Pat Metheny's attention since the '70s, he placed an especially strong emphasis on Brazilian elements in the late '80s. A master of uniting seemingly disparate elements as a cohesive whole, the imaginative guitarist effectively combines Brazilian-influenced harmonies and rhythm with jazz, folk, and pop elements on "So May It Secretly Begin," "Third Wind," "Minuano (Six Eight)," and other celebrated gems included on Still Life (Talking). The Brazilian leanings are put aside on one of Metheny's most unique offerings ever, "Last Train Home," which boasts a charming Western theme that brings to mind a peaceful journey across the Arizona desert. That may not sound like the description of a jazz piece, but then, making the unlikely a reality is among Metheny's many admirable qualities.
Jeffrey Pritchard - September 9, 2016
This album came out the summer before my senior year in high school. NONE of my friends listened to or liked this kind of music, but one listen to this album and I was hooked. What's equally awesome is 29-years later, IT STILL SOUNDS EXCELLENT! I was sad to see PMG move past this sound after "Letter From Home."
tommey jones - January 23, 2016
I own over 18k albums and c.d.'s. This recording has been a favorite of mine seen its release as an album. I already had a mild enjoyment of Pats music, but this was that placed him on a higher level of musical respect in my music appreciation!!
Was this review helpful to you?
Rob Suggs - December 2, 2016
I realize Metheny is an artist, and artists have to move on to new things, but it wouldn't have bothered me at all if he'd stayed with this group and this particularly Brazilian influence for the rest of his life. I've never been able to get enough of it. I love most of what Metheny does in his varied and fruitful career, but his work with the Group is, simply put, my favorite music in a long lifetime of listening. A desert island disk to be sure, with nary a misstep on it and every cut a classic in its own way. No wonder he's continued to revisit more compositions from this album than probably any other he's produced.
Arkadiusz Swierczewski - October 3, 2017
I used to drive through the Italian and Swiss Alps listening to this when I was teenager - and it still stays with me for more than 20 years now. This is one of the records that once you listen to it for 8-10 times you will always miss it.
Was this review helpful to you?
Sachin Chavan - September 26, 2017
Part synthesised music always creates polarity - those who like it and those who don't. I find myself on both sides. I liked it earlier when I listened to music casually. Now I purchased the CD and listened to it after years. But don't seem to like it as much. Don't get me wrong - it's beautiful music. Some tracks - Last Train Home especially, are outstanding. There's good sense of harmony and balance. Just that where my musical interests lie today, I would prefer Weather Report for synthesised jazz fusion and Stan Getz for Brazilian Jazz.
As atmospheric music this album is wonderful. Just play it in background and go about your things.
Robert Johnson - May 9, 2019
I only discovered this album last year and I'm grateful it's better late than never. A conceptually beautiful collection of tunes and sounds that take the imagination to a million places Still Life Talking remains amazingly fresh 32 years on. The production is impeccable, the musical arrangements are seductive and sophisticated simultaneously. Pat Metheny Group achieved something special with this record. Starting with So It May Secretly Begin makes you feel you are on the beach and/or looking at something breathtaking. Minuano has a mysterious feel to it and that effective yet satisfying addictive echoing sound with Latin singing is so wonderfully used in the right places. The very beautiful and heartfelt Last Train Hometunes into the feeling that - I'm going to be ok because I'm on my way, so much so, that you want to be on that train. This album is made with love and is essential to every collection. A memorable masterpiece. Thank you PMG
Pat Metheny Group Imaginary Day
1997
Right Track Recording, New York City
Mastered by Ted Jensen at Sterling Sound,
New York City
Released October 7, 1997
Acoustic Bass, Electric Bass – Steve Rodby
Acoustic Guitar, Electric Guitar, Guitar Synthesizer – Pat Metheny
Drums – Paul Wertico
Percussion – David Samuels, Don Alias, Glen Velez, Mino Cinelu
Piano [Acoustic], Keyboards – Lyle Mays
Vocals, Mellophone, Baritone Guitar, Acoustic & Electric Guitar, Violin, Recorder, Trumpet – David Blamires
Vocals, Trumpet, Flugelhorn, Trumpet Bass – Mark Ledford
Listado de Temas:
01 - Imaginary Day - 10:12 min.
Lyle Mays, Pat Metheny
02 - Follow Me - 05:56 min.
Lyle Mays, Pat Metheny
03 - Into The Dream - 02:27 min.
Pat Metheny
04 - A Story Within The Story - 08:02 min.
Lyle Mays, Pat Metheny
05 - The Heat Of The Day - 09:45 min.
Lyle Mays, Pat Metheny
06 - Across The Sky - 05:14 min.
Lyle Mays, Pat Metheny
07 - The Roots Of Coincidence - 07:49 min.
Lyle Mays, Pat Metheny
08 - Too Soon Tomorrow - 05:48 min.
Pat Metheny
09 - The Awakening - 09:28 min.
Lyle Mays, Pat Metheny
9 Temas - Tiempo Total: 01:04:41
Flac @ 910 - 402,26 MB
EAC Ripped By
Napi#10
Reseñas y comentarios
Imaginary Day is a jazz album by the Pat Metheny Group, released in 1997 by Warner Bros. Records. The album overall was strongly inspired by world music from Iran and Indonesia, and won the 1999 Grammy Award for Best Contemporary Jazz Album. The song "The Roots of Coincidence" won a Grammy award for Best Rock Instrumental Performance; critic Richard Ginnell of Allmusic described the song as a dramatic departure for the group: "[an] out-and-out rock piece with thrash metal and techno-pop episodes joined by abrupt jump cuts."
Translated liner notes, from web.archive.org
https://web.archive.org/web/20050215170805/http://home.wxs.nl/~hoeve803/iday2.htm
He was working on the transcontinental railroad, thinking of his friends and life back home. were those just imaginary days? I am certain of nothing but the holiness of the hearts affections, and the truth of imagination. keats as day broke, a dream overcame even memory, calling him quietly to follow ... imagination is more important than knowledge. einstein. and he went, into the dream, to find the storm within the story. all that we see, and all that it seems, is but a dream within a dream poe. it was there, in the blinding heat of the imaginary day, that he saw what could be. the possibles slow fuse is lit, by the imagination.
By Dickinson.across the sky, thousands of faces, all colors, all races, all people together as one, to imagine is to see. levy. in his dream, he saw a place where fact and chance, the mistery of necessity and the deep roots of coincidence, imagined together the community of souls. imagination is the eye of the soul. joubert. elusive, this dream, and he knew that tomorrow would come too soon. my imagination makes me human and makes me a fool, it gives me all the world and exiles me from it. le guin. awakening now, to a world and a day both less imaginary and less real, he knew he would remember that future he visited for just a fleetin moment, always. there are no days in life so memorable as those which vibrated to some stroke of the imagination.By Emerson.
INSIDE LINER NOTES
Pat Metheny with Steve Rodby
Back in the imaginary day . . .
all sound was perceived as music music as the spoken language the fabric of music dressed the human soul imagination was the currency of existence soul power was measured in sound hearing was intrinsically the same as listening all of human history was availableto the ear creativity was identifiable through its immunity idomatic definitions today is the imaginary day back in the imaginary day . . .
all tastes were perceived as music music was the food of soul nourishment the fruit of taste grew from the same tree as music imagination was currency of existence taste made appetite grow only stronger deep and real listening was the same as eating creativity was identifiable through its subversion of idiomatic definitions this is the imaginary day back in the imaginary day . . .
all scents came from music itself the fragrance of music filled every corner of the universe music perfumed the human soul imagination was the currency of existence knowing that music was the voice of god only a matter of breathing idiomatic definitions were identifiable through their irrelevance to creativity today is the imaginary day back in the imaginary day . . .
all sights were perceived as sounds seeing was music the lens of vision was focused by all sound imagination was the currency of existence soul power could be felt and heard but never clearly seen seeing was hearing, and hearing was finding and believing creativity and identifiable throueh its remaking of all definitions this is the imaginary day back in the imaginary day . . .
all feelings were perceived as music emotion was literally music all emotions were manifested through musical sounds the call of emotion came as a song imagination was the currency of existence feelings could be heard an seen creativity was identifiable through its immunity to idiomatic definitions today is the imaginary day
back in the imaginary day . . .
to touch another was to play an instrument music was on and on every fingertip a touch, no matter how brief, had an accompanying song the heat of desire was the same temperature as music imagination was the currency of existence touch ng was the same as hearing creativity was identifiable through its transcendence of idiomatic definitions this is the imaginary day . . .
Pat Metheny with Steve Rodby
DiscoGs
Pat Metheny Group – Imaginary Day
Sello: Warner Bros. Records – 9 46791-2
Formato: CD, Album
País: US Fecha: 07 Oct 1997
Género: Jazz Estilo: Contemporary Jazz
Compañías, etc.
Recorded At – Right Track Recording
Mastered At – Sterling Sound
Créditos
Co-producer – Lyle Mays, Steve Rodby
Co-producer [Associate Producer] – David Oakes, Rob Eaton
Coordinator [Project Coordinator] – David Sholemson
Coordinator [Technical] – David Oakes
Design [Packaging Design] – Sagmeister Inc., New York
Engineer [Assistant] – Pete Karam
Mastered By – Ted Jensen
Photography By [Studio Photos] – Latifa Azhar
Producer – Pat Metheny
Recorded By, Mixed By – Rob Eaton
Technician [Guitar] – Carolyn Chrzan
Technician [Piano, Piano Tuner] – Tom Sheehan
Written-By – Mays (tracks: 1, 2, 4 to 7, 9), Metheny
AllMusic Review
by Richard S. Ginell
More than ever, the Pat Metheny Group is into creating thick, exotic, electronic sonic landscapes, and Imaginary Day goes even further out on the cutting edges of technology and global influences than its predecessors. The floating Metheny group signature is often present but with radically reworked textures, and Brazil seems to be off his international itinerary, replaced by whiffs of repetitive Iranian folk music, Balinese gamelan music, and other global influences. Indeed, Metheny only sounds something like his familiar soft-focused self on "A Story Within the Story," playing what amounts to a fine hard bop solo, and the song-like "Across the Sky." At all other times, he expands his sonic palette on various guitar synthesizers and newly minted guitar mutations, at one point assigning an entire solo piece, "Into the Dream," to the 42-string "pikasso guitar," which sounds like a glittering African zither. "The Roots of Coincidence" is a total departure for the group, a gleefully hard-edged, out-and-out rock piece with thrash metal and techno-pop episodes joined by abrupt jump cuts. Along with his core lineup of Lyle Mays, Steve Rodby, and Paul Wertico, Metheny also includes the duo of multi-instrumentalists Mark Ledford and David Blamires adding various horns and things, and four top-line percussionists -- Mino Cinelu, Dave Samuels, Glen Velez, and Don Alias -- replacing departing member Armando Marcal. Through all the experiments, the Metheny Group's music remains uplifting, intelligent, and always accessible to the casual and attentive ear in the late '90s, even as it becomes more portentous. The "words" on the cover art and booklet are written in some kind of strange Esperanto alphabet, with symbols and objects replacing each letter, but there are enough translations in plain English to get you through.
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