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Pat Metheny B0X02

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. [. . .]



Pat Metheny Group First Circle

 1984




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)




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


Créditos
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


 ~ 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




 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




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
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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
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!!
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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.
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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 


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


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
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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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13 julio 2019

Pat Metheny B0X01

Pat Metheny





By R. Steven Rainwater from Dallas, US - img_7920, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=10647676


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. [. . .]


Pat Metheny - 1978 - New Chautauqua


Recording Date August, 1978
Recording Location
Talent Studio, Oslo, Norway
Release Date April, 1979

Créditos

Electric Guitar [6 And 12 String Guitars], Acoustic Guitar, Guitar [15 String Harp Guitar], Electric Bass and Composed By – Pat Metheny

Engineer – Jan Erik Kongshaug
Photography By [Cover Photo], Design – Dieter Rehm
Photography By [Photo] – Joji Sawa
Producer – Manfred Eicher

Listado de Temas:
todos compuestos por Pat Metheny


 01 - New Chautauqua - 05:19 min. 

 02 - Country Poem - 02:35 min.

 03 - Fallen Star Long-Ago Child - 10:20 min.

 04 - Hermitage - 05:40 min.

 05 - Sueño Con Mexico - 05:59 min.

 06 - Daybreak - 08:39 min.

6 Temas. Tiempo Total: 00:38:32
flac @ 656 - 154,71 MB
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Daybreak Subtracked ByNapi#08:

1. 06a - Daybreak Trckd.01 - 02:05 min.
2. 06b - Daybreak Trckd.02 - 02:06 min.
3. 06c - Daybreak Trckd.03 - 04:27 min.

3 Temas. Tiempo Total: 00:08:38
flac @ 451 - 35,99 MB
RpiPor Napi#08

1PocodMusica.com
https://www.1PocodMusica.com/


Reseñas:

AllMusic Review
by Thom Jurek

When Pat Metheny's New Chautauqua first appeared in 1979, it was his third album for ECM, and was greeted mainly on the strength of its title track, a euphoric, uptempo, multi-layered guitar and bass folk dance. His previous two outings for the label, Bright Size Life and Watercolors, showcased him in the company of other musicians: on the former with Bob Moses and Jaco Pastorius, on the latter with Lyle Mays, Danny Gottlieb, and Eberhard Weber. They'd both received critical acclaim and sold well in college towns across the United States and Europe.

But this volume was his first true solo recording in that he played all the guitars and basses on the set. As wonderfully indicative of Metheny's signature as this title cut was, the rest of the date was a complete shock to fans. It's very sparse, spacious, and quietly contemplative. Produced by Manfred Eicher, New Chautauqua was, at the time, far more indicative of ECM's sound than it was the guitarist's. In 21st century retrospect, this first impression proves to be a mistake. Reconsidering the album upon its re-release in 2008 as part of the label's budget Touchstone series, it sounds more an extension of Metheny's complex, wide-ranging musical personality than anything else. His great debt to guitarists from Jim Hall to Pat Martino on the title cut and on "Daybreak," the closer, is balanced only by his impressionistic melodic sensibility that is informed as much by Paul Bley and Jimmy Giuffre ("Long Ago Child/Fallen Star") and latter day-John Lennon and Paul McCartney ("Hermitage") as it is by his mentor, Gary Burton ("Sueno con Mexico"). This is a very gentle and contemplative recording, but there is so much happening in the weave of six-, 12- and 15-string harp guitars and basses, it's easy to let it slip by in a dreamy reverie. 

If any of Metheny's early recordings deserves reconsideration, a real argument can be made for the skeletal, yet utterly beautiful New Chautauqua.



Pat Metheny Group - 1979 - American Garage




Reseña
_________________________by Fito._______________

 Patrick Bruce Metheny, nacido en Lee's Summit, Missouri, Estados Unidos, empezó a tocar la guitarra desde muy niño, y fue todo un prodigio,  tanto es así,  que a los quince años  estaba trabajando con los mejores músicos de jazz en Kansas City.

 Pat Metheny llegó a ser profesor de la Berklee College of Music (una de las escuelas de música con más prestigio de todo el mundo) dando clases a alumnos como Mike Stern o Al DiMeola. Allí conoce a Gary Burton y se incorpora a su banda durante 3 años, mostrando ya su peculiar forma de tocar: moderna aunque conectando con el jazz más tradicional, swing o blues.

En 1975, sacó su primer álbum instrumental, “Bright Size Life”, con el genial Jaco Pastorius al bajo sin trastes, reinventando el tradicional sonido de guitarra de jazz. Un año más tarde conoce a Lyle Mays con quien, tras grabar el disco Watercolors en 1977, y la presencia del bajista Steve Robdy, se fundaría el Pat Metheny Group. Este trió sería  la base de las distintas formaciones del grupo a lo largo de su extensa carrera.

American Garage (1979) es el segundo disco de la PMG, y supuso una revolución para la época, con ese sonido tan personal de la guitarra de Metheny, complejo y atrapante a la vez, junto al contraste del bajo sin trastes, a los que se les une el aporte, sin ser predominante, de la percusión y el teclado: Había nacido el sonido del Pat Metheny Group, una fusión distinta a todas las del momento, en las que las armonías e improvisaciones fluyen con naturalidad, absorbiendo elementos de todas las épocas anteriores de la música moderna.

 En American Garage, a Pat Metheny (Guitarra, Guitarra de 12 cuerdas y Guitarra Bajo) y  Lyle Mays (Piano, Teclados, Órgano, Oberheim, Autoharp) les acompañan Mark Egan al bajo y  Dan Gottlieb a la batería.
_________________________by Fito._______________


Duration 35:21
Genre Jazz - Styles Crossover Jazz
Fusion, Contemporary Jazz, Guitar Jazz, Jazz Instrument

Recorded At – Long View Farm Studios
Lacquer Cut At – PRS Hannover

Engineer – Kent Nebergall
Engineer [Assistant] – Jesse Henderson
Executive-Producer – Manfred Eicher
Photography By – Rob Van Petten
Photography By [Cover] – Joel Meyerowitz
Production Manager [Thanks For Help] – Richard Niles

Notas
Recorded June 1979 at Longview Farm Recording Studio, NO. Brookfield, Mass. 
Release Date November 1, 1979



Créditos

Bass – Mark Egan
Drums – Dan Gottlieb
Guitar [6 & 12-string Guitars], Producer, Composed By – Pat Metheny
Keyboards, Composed By – Lyle Mays
Design – Basil Pao


Listado de Temas:


 01 - (Cross The) Heartland - 06:55 min.
Autor: Pat Metheny, Lyle Mays 

 02 - Airstream - 06:20 min.
Autor: Pat Metheny, Lyle Mays 

 03 - The Search - 04:55 min.
Autor: Pat Metheny, Lyle Mays 

 04 - American Garage - 04:13 min.
Autor: Pat Metheny, Lyle Mays 

 05 - The Epic - 12:59 min.
Autor: Pat Metheny, Lyle Mays 



5 Temas. Tiempo Total: 00:35:22
flac @ 797 - 193.10 MB
RipBy: Napi#17





Reseña

AllMusic Review 
by Richard S. Ginell

The back liner photo gives the impression of a grungy Midwestern garage band, but no, that doesn't describe this sophisticated jazz-rock quartet, which was simultaneously breaking into mass-market acceptance and away from the contemplative ECM stereotype. The arrangements are more structured, the playing often more intense and searching, with a more pronounced rock influence. On the title track, Metheny digs in and displays some authoritative rock-oriented licks and intensity, and the rhythms on "The Search" have a slight, at times asymmetrical Latin feeling. The nearly 13-minute "The Epic" finds the Metheny group developing some real combustion in the improvised sections as Metheny, keyboardist Lyle Mays, bassist Mark Egan and drummer Danny Gottlieb grow tighter as a unit. In hindsight, some of the music seems a bit too tightly conceived to allow adequate breathing room, but this is still high-quality jazz-rock for its time.


Pat Metheny Group ‎1981 Offramp


Recorded October 1981 at Power Station, New York
Mixed at Talent Studio, Oslo

Créditos

Acoustic Bass, Electric Bass – Steve Rodby
Drums – Danny Gottlieb
Piano, Synthesizer, Autoharp, Organ, Synthesizer [Synclavier] – Lyle MaysGuitar, Synthesizer [Guitar Synthesizer, Synclavier Guitar] – Pat Metheny
Percussion, Voice, Berimbau – Nana Vasconcelos

Artwork [Cover Graphic] – Gerd Winner
Design – Dieter RehmEngineer – Jan Erik Kongshaug (tracks: A1 to B1, B3, B4)
Engineer [Assistant] – Barry Bongiovi
Engineer [Mix] – Jan Erik Kongshaug
Photography By [Liner Photos] – Deborah Feingold
Producer – Manfred Eicher

Listado de Temas: 


 01 - Barcarole - 03:18 min.
Written-By – Mays, Vasconcelos, Metheny

 02 - Are You Going With Me? - 08:51 min.
Written-By – Mays, Metheny

 03 - Au Lait - 08:31 min.
Written-By – Mays, Metheny

 04 - Eighteen - 05:10 min.
Written-By – Mays, Vasconcelos, Metheny

 05 - Offramp - 05:59 min.
Engineer – Gragg Lunsford
Written-By – Mays, Metheny

 06 - James - 06:46 min.
Written-By – Mays, Metheny

 07 - The Bat, Part 2 - 03:50 min.
Written-By – Mays, Metheny


7 Temas - Tiempo Total: 00:42:25
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Reseñas:

Pat Metheny Group ‎– Offramp
Sello: ECM Records ‎– ECM 1216, ECM Records ‎– 2301 216
Formato: Vinyl, LP, Album 
País: Germany Fecha: 1982
Género: Electronic, Jazz Estilo: Fusion, Contemporary Jazz




AllMusic Review
by Alex Henderson

If 1980's As Falls Wichita, So Falls Wichita Falls was defined by Pat Metheny's charisma, its less accessible but certainly rewarding successor, Offramp, finds him leaning more toward the abstract. But as cerebral as Metheny gets on such atmospheric pieces as "Are You Going with Me?" and "Au Lait," his playing remains decidedly lyrical and melodic. Clearly influenced by Jim Hall, the thoughtful Metheny makes excellent use of space, choosing his notes wisely and reminding listeners that, while he has heavy-duty chops, he's not one to beat everybody over the head with them. Even when he picks up the tempo for the difficult and angular title song, he shuns empty musical acrobatics. Throughout the CD, Metheny enjoys a powerful rapport with keyboardist Lyle Mays, who also avoids exploiting his technique and opts for meaningful storytelling.


AllMusic User Reviews
Feckpyg MacOwlarse - March 2, 2017

I'll just mention 1 track..Are You Going With Me..? I'm absolutely enamoured with this piece of music. It makes me feel more relaxed and comfortable when I listen to it than any other piece of music I have ever heard in my life.. that's all I have to say. Well apart from the other tracks which are equally blissful.. it can put one into a wonderful deep sleep better than Temazepam.... Ivor M Kemp.


Pat Metheny Group 1983 Travels

(2 Lp's - 2 Cd’s)



Notas

Recorded in July, October, November 1982
Recordings taken from concerts in Dallas (TX), Philadelphia (PA), Sacramento (CA) and Nacogdoches (TX)
Entire album mixed at Talent Studio, Oslo

Personnel:

Double Bass [Acoustic Bass], Electric Bass, Synthesizer [Bass] – Steve Rodby
Drums – Dan Gottlieb
Guest [Special], Percussion, Voice, Berimbau – Naná Vasconcelos
Guitar, Guitar Synthesizer – Pat Metheny
Piano, Synthesizer, Organ, Autoharp, Synthesizer [Synclavier] – Lyle Mays
Producer – Manfred Eicher, Pat Metheny


Listado de Temas:


Composed By – Lyle Mays (tracks: A1, B1, B2, C2-2, D1, D3), Pat Metheny


Cd 1

Lp 1 Side A

 101 - Are You Going With Me? - 09:18 min.

 102 - The Fields, The Sky - 07:47 min.

 103 - Goodbye - 08:16 min.

Lp 1 Side B

 104 - Phase Dance - 08:03 min.

 105 - Straight On Red - 07:26 min.

 106 - Farmer's Trust - 06:25 min.




Cd 2

Lp 2 Side A

 201 - Extradition - 05:42 min.

 202 - Goin' Ahead + As Falls Wichita, So Falls Wichita Falls - 16:20 min.

Lp 2 Side B

 203 - Travels - 05:03 min.

 204 - Song For Bilbao - 08:26 min.

 205 - San Lorenzo - 13:36 min.



2 Cd’s, 11 Temas - Tiempo Total: 01:36:22
flac @ 838 - 487,15 MB
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Reseña

Sello: ECM Records ‎– ECM 1252/53, ECM Records ‎– 810622-1
Formato: 2 × Vinyl, LP, Album, Gatefold, 2 x Cd 
País: Germany Fecha: 02 May 1983
Género: Jazz Estilo: Jazz-Rock, Fusion


Compañías, etc.
Phonographic Copyright (p) – ECM Records GmbH
Mixed At – Talent Studio
Lacquer Cut At – PRS Hannover
Published By – Pat-Meth Music Corp.
Published By – Lyle Mays Inc.



AllMusic Review
by Richard S. Ginell

Now well into its gliding Brazilian-tinged mode, the Pat Metheny Group hits the road, as this two-CD set catches the band live in Dallas, Philadelphia, Hartford, Sacramento, and Nacogdoches, TX. Percussionist Naná Vasconcelos is still listed as a "special guest," but ever since Wichita Falls, he had not only been a part of the group, he was the transforming element in the Metheny "sound," adding his various shakers, effects and ethereal vocals. Sidekick Lyle Mays gets deeper into floating, glistening synthesizer textures, but he is still able to take formidable and touching solos on acoustic grand piano. Still experimenting with new hardware, Metheny's work on a detuned guitar synthesizer gives the live "As Falls Wichita, So Falls Wichita Falls" an exotic Balinese-like sound. Other highlights are the hard Brazilian grooves on "Straight On Red" and "Song for Bilbao," as well as the trademark Metheny glide of "Are You Going With Me?" -- and the brief title track has a winning, guileless simplicity much like that of Keith Jarrett in a prayerful mood. If you liked the popular Offramp, you'll fall for Travels, too, but get the former album first.


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12 julio 2019

Windham Hill & Narada Samplers

Windham Hill & Narada Samplers



Windham Hill Sampler '88  Lp

1988



Assembled at A&M Studios, Hollywood, CA
Mastered at Bernie Grundman Mastering, Hollywood, CA

Listado de Temas:




 01 - Wishing Well - Schonherz And Scott - 04:53 min.
from One Night In Vienna (WH-1060) ℗ 1987 Windham Hill Records, Windham Hill Music (BMI)
Autoría: Richard Schönherz, Peter Scott
Producción: Dawn Atkinson, Peter Scott, Richard Schönherz

 02 - Unseen Rain - W.a. Mathieu - 04:39 min.
from Available Light (WH-1059) ℗ 1987 Windham Hill Records, Windham Hill Music (BMI)
Producción: William Ackerman

 03 - Road To Hanna - Shadowfax - 04:05 min.
from Too Far To Whisper (WH-1051) ℗ 1986 Windham Hill Records, Word Painter Music (BMI)
Autoría: Charlie Bisharat
Producción: Chuck Greenberg

 04 - Angel Steps - Scott Cossu - 03:17 min.
from She Describes Infinity (WH-1063) ℗ 1987 Windham Hill Records, Silver Crow Music (BMI)
Autoría: Scott Cossu
Producción: Tom Canning. Productor Asociado: Scott Cossu

 05 - Toys Not Ties - Nightnoise - 04:02 min.
from Something Of Time (WH-1057) ℗ 1987 Windham Hill Records, Nightnoise Music (BMI)/Windham Hill Music (BMI)
Autoría: Brian Dunning
Producción: Billy Oskay, Mícheál Ó Domhnaill

 06 - Because It's There - Michael Hedges - 03:17 min.
from Live On The Double Planet (WH-1066) ℗ 1987 Windham Hill Records, Windham Hill Music (BMI)/1980 Music, Inc. (ASCAP)
Autoría: Michael Hedges
Producción: Michael Hedges



 07 - To Be - Montreux - 03:40 min.
from Sign Language (WH-1058) ℗ 1987 Windham Hill Records, Slow Baby Music (BMI)
Autoría: Barbara Higbie
Producción: Montreux
Co-Producción: Oliver DiCicco

 08 - Indian Woman - Rubaja And Hernandez - 05:35 min.
from High Plateaux (WH-1064) ℗ 1987 Windham Hill Records, Lost Lake Arts Music (BMI)
Autoría: Bernardo Rubaja, Cesar Hernandez
Producción: Mark Isham

 09 - Close Cover - Wim Mertens - 03:20 min.
from Close Cover (WH-1056) ℗ 1983, 1986 Les Disques Du Crépuscule, USURA Ltd. (SABAM)
Autoría: Wim Mertens
Producción: Wim Mertens

 10 - Climbing In Geometry - William Ackerman - 06:14 min.
from Conferring With The Moon (WH-1050) ℗ 1986 Windham Hill Records, Windham Hill Music (BMI)
Autoría: William Ackerman
Producción: Elliott Mazer, William Ackerma

 11 - Woman At The Well - Tim Story - 03:38 min.
from Glass Green (WH-1061) ℗ 1987 Windham Hill Records, Seventh Chance Music (BMI)/Windham Hill Music (BMI)
Autoría: Tim Story
Producción: Tim Story



11 Temas - Tiempo Total: 00:46:40
flac @ 842 - 237,68 MB
RipPor: Deivo-Fran Solo
Ediciones Mmxi 





Sello: Windham Hill Records ‎– WD-1065
Formato: Lp, Sampler  País: US Fecha: 1988
Género: Electronic, Jazz
Estilo: New Age, Instrumental Music, Contemporary Jazz

Créditos
Mastered At – Bernie Grundman MasteringCompiled By [Assembled By] – Dawn Atkinson, Stewart Whitmore
Design – Anne Robinson
Executive-Producer – Dawn Atkinson, William Ackerman
Mastered By – Bernie Grundman
Photography By – Jeff D. Nicholas



Notas
Track 1 taken from One Night In Vienna (WH-1060) ℗ 1987 Windham Hill Records, Windham Hill Music (BMI)
Track 2 taken from Available Light (WH-1059) ℗ 1987 Windham Hill Records, Windham Hill Music (BMI)
Track 3 taken from Too Far To Whisper (WH-1051) ℗ 1986 Windham Hill Records, Word Painter Music (BMI)
Track 4 taken from She Describes Infinity (WH-1063) ℗ 1987 Windham Hill Records, Silver Crow Music (BMI)
Track 5 taken from Something Of Time (WH-1057) ℗ 1987 Windham Hill Records, Nightnoise Music (BMI)/Windham Hill Music (BMI)
Track 6 taken from Live On The Double Planet (WH-1066) ℗ 1987 Windham Hill Records, Windham Hill Music (BMI)/1980 Music, Inc. (ASCAP)
Track 7 taken from Sign Language (WH-1058) ℗ 1987 Windham Hill Records, Slow Baby Music (BMI)
Track 8 taken from High Plateaux (WH-1064) ℗ 1987 Windham Hill Records, Lost Lake Arts Music (BMI)
Track 9 taken from Close Cover (WH-1056) ℗ 1983, 1986 Les Disques Du Crépuscule, USURA Ltd. (SABAM)
Track 10 taken from Conferring With The Moon (WH-1050) ℗ 1986 Windham Hill Records, Windham Hill Music (BMI)
Track 11 taken from Glass Green (WH-1061) ℗ 1987 Windham Hill Records, Seventh Chance Music (BMI)/Windham Hill Music (BMI)


Windham Hill Sampler '94

1994

Listado de Temas: 



 01 - Alex de Grassi - Bright Sky - 04:22 min.
Comentario: Guitar [Sympitar] – Alex De Grassi
Keyboards – Andy Narell
Percussion – Luis Conte
Producer – Andy Narell
Programmed By [Synthesizer] – Judd Miller
Autoría: Alex de Grassi 


 02 - Psychograss - Love on Three Levels - 04:42 min.
Comentario: Bass – Todd Phillips
Guitar – Mike Marshall
Percussion – Joe Craven
Producer – Darol Anger, Mike Marshall
Violin – Darol Anger
Autoría: Darol Anger 


 03 - Philip Aaberg - Sentimental Walk - 04:50 min.
Comentario: Piano – Philip Aaberg
Producer – Dawn Atkinson, Philip Aaberg
Autoría: Vladimir Cosma 


 04 - Steve Erquiaga - Pavanne - 04:23 min.
Comentario: Guitar [Nylon String] – Steve Erquiaga
Producer – Dawn Atkinson
Autoría: Gabriel Fauré, Morton Gould, Maurice Ravel 


 05 - Nightnoise - Night in That Land - 03:14 min.
Comentario: Co-producer – Dawn Atkinson, Nightnoise
Fiddle – Johnny Cunningham
Flute – Brian Dunning
Guitar, Whistle – Mícheál Ó Domhnaill
Synthesizer, Accordion – Tríona Ní Dhomhnaill
Autoría: Johnny Cunningham 




 06 - Aquarela Carioca - Patu - 04:59 min.
Comentario: Producer – Paulo Brandão
Autoría: Papito 


 07 - Gaia - Firewater - 04:59 min.
Comentario: Producer – Eythor Gunnarsson, Valgeir Gudjonsson
Autoría: Valgeir Gudjonsson, Eythor Gunnarsson 


 08 - Liz Story - How Insensitive - 03:33 min.
Comentario: Bass – Joel DiBartolo
Producer – Dawn Atkinson, Dick Grove
Autoría: Norman Gimbel, Antônio Carlos Jobim, Vinícius de Moraes 


 09 - Will Ackerman - A Happy Home in Kathmandu - 04:17 min.
Comentario: Keyboards – Tim Story
Oboe – Paul McCandless
Producer – Steven Miller
Autoría: Will Ackerman, Tim Story 





 10 - The Modern Mandolin Quartet - Redonda - 04:41 min.
Comentario: Producer – Mike Marshall
Autoría: Tom Miller 


 11 - Scott Cossu - Pas de Deux - 04:53 min.
Comentario: Cello – David Darling
Guitar – Van Manakas
Producer – Dave Valentin, Van Manakas
Autoría: Van Manakas 


 12 - Øystein Sevåg - My Heart - 05:40 min.
Comentario: Guitar – Lakki Patey
Autoría: Øystein Sevåg


 13 - Ray Lynch - Ivory - 05:34 min.
Comentario: Flute – Timothy Day
Autoría: Ray Lynch




13 Temas. Tiempo Total: 01:00:07
mp3 @ 320 - 137,60 MB

1PocodMusica
https://www.1PocodMusica.com/
y
El Cielo Y El Dedo
https://ElCieloYElDedo.blogspot.com/





Sello Windham Hill Records ‎– 01934 11138-2
Formato: CD, Sampler 
País: US Fecha: 1994
Género: Electronic, Rock
Estilo: Lounge, Folk Rock, Modern Classical
Executive-Producer – Dawn Atkinson, Robert Duskis


Bonus

Narada Sampler '94

(ND-00074)

1994



Various ‎– Narada 1994 Promo
[Narada ‎– Z00073ND]
Formato: CD, Compilation, Sampler




Listado de Temas:


 01 - Nando Lauria - Back Home - 04:55 min.
Comentario: from "Points Of View"
Autoría: Nando Lauria 

 02 - Kostia - Winter Ride - 04:08 min.
Comentario:  from "Suite St. Petersburg - A Piano Portrait"
Autoría: Kostia 

 03 - Randy Roos - South of Some Border - 04:59 min.
Comentario: from "Liquid Smoke"
Autoría: Randy Roos

 04 - Michael Gettel - When Hearts Collide - 05:40 min.
Comentario: from "The Key"
Autoría: Michael Gettel, Randy Sherwood 

 05 - David Arkenstone - Voices in the Night - 04:26 min.
Comentario: from "Another Star In The Sky"
Autoría: David Arkenstone 

 06 - Michael Whalen - Soliloquy - 04:17 min.
Comentario: from "Phantom Of The Forest"
Autoría: Michael Whalen 

 07 - Nando Lauria - After Dawn - 04:50 min.
Comentario: from "Points Of View"
Autoría: Nando Lauria 

 08 - Michael Gettel - Turning of a Key - 04:31 min.
Comentario: from "The Key"
Autoría: Michael Gettel 

 09 - Kostia - Secret Garden - 04:43 min.
Comentario:  from "Suite St. Petersburg - A Piano Portrait"
Autoría: Kostia 

 10 - David Arkenstone - Under the Canopy - 04:23 min.
Comentario: from "Another Star In The Sky"
Autoría: David Arkenstone

 11 - Michael Whalen - After the Rain - 02:39 min.
Comentario: from "Great African Moments"
Autoría: Michael Whalen  

 12 - Kostia - Building Bridges - 05:27 min.
Comentario: from "Suite St. Petersburg - A Piano Portrait"
Autoría: Kostia 

 13 - David Arkenstone - Pool of Radiance - 05:17 min.
Comentario: from "Another Star In The Sky"
Autoría: David Arkenstone 

 14 - Michael Whalen - Sunrise Dance - 03:37 min.
Comentario: from "Phantom Of The Forest"
Autoría: Michael Whalen 

 15 - Michael Gettel - Through the Doorway - 05:07 min.
Comentario: from "The Key"
Autoría: Michael Gettel 

 16 - Randy Roos - Summer's Decision - 05:11 min.
Comentario: from "Liquid Smoke"
Autoría: Randy Roos 



16 Temas. Tiempo Total: 01:14:10
flac @ 888 - 399,57 MB
RipPor: Napi#19



1PocodMusica
https://www.1PocodMusica.com/

Reseñas:

Various ‎– Narada 1994 Promo
Sello: Narada ‎– Z00073ND
Formato: CD, Compilation, Promo
País: US Fecha: 1994
Género: Electronic, Jazz, Classical, Folk, World, & Country
Estilo: Avant-garde Jazz, Afro-Cuban Jazz, New Age, Ambient, Easy Listening





Notas
Tracks 1 and 7 from "Points Of View".
Tracks 2, 9 and 12 from "Suite St. Petersburg - A Piano Portrait".
Tracks 3 and 16 from "Liquid Smoke".
Tracks 4, 8 and 15 from "The Key".
Tracks 5, 10 and 13 from "Another Star In The Sky".
Tracks 6 and 14 from "Phantom Of The Forest".
Track 11 from "Great African Moments".

Tracks 1and 7 © 1994 Lauria Music (ASCAP) / Kasina Music, Inc. (ASCAP).
Tracks 2, 5, 9, 10, 12 and 13 © 1994 Nara Music, Inc. (BMI).
Tracks 3 and 16 © 1994 Enso Music, Inc. (BMI).
Tracks 4, 8 and 15 © 1994 Amida Music, Inc. (ASCAP).
Tracks 6, 11 and 14 © 1994 Southwick Songs (ASCAP) / Kasina Music, Inc. (ASCAP)

©℗ 1994 Narada Media.

The release is housed in a plastic foldout booklet.


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