Windham Hill, Narada, Higher Octave. A Decade Collection

A Windham Hill Collection '95 A Celtic Season

1995 

The very best of Celtic Christmas

Celtic Christmas

Listado de Temas:

Género: Folk, World, & Country - Estilo: Celtic
Año: 1995

Listado de Temas:

 01 - When The Snow Melts - Phil Cunningham & Manus Lunny - 03:56 min. 
Guitar, Bouzouki, Vocals, Producer – Mánus Lunny
Whistle, Piano, Keyboards, Recorded By, Producer – Phil Cunningham
Autoría: Phil Cunningham, Archibald Lampman, Manus Lunny, Loreena McKennitt


 02 – Solus (Light) - Triona Ni Dhomhnaill - 03:42 min. 
Recorded By – Bob Stark
Vocals, Piano, Keyboards, Bodhrán – Tríona Ní Dhomhnaill
Autoría: Tríona Ní Dhomhnaill


 03 - On A Cold Winter's Day.Christmas Eve - Kevin Burke & Micheal O Domhnaill - 04:07 min.
Arranged By, Fiddles, Producer  – Kevin Burke
Arranged By, Guitar, Producer  – Mícheál Ó Domhnaill
Recorded By – Bob Stark
Written-By – Traditional


 04 - The Winter's End - Liam O'Flynn - 03:20 min.
Bagpipes, Uilleann Pipes – Liam O'Flynn
Producer – Shaun Davey
Cor Anglais, Oboe – Matthew Manning
Recorded By – Brian Masterson
Autoría: Shaun Davey


 05 - Ciara - Luka Bloom - 03:00 min.
Acoustic Guitar, Vocals – Luka Bloom
Keyboards, Vocals – Mícheál Ó Domhnaill
Recorded By – Alan Connaughton
Autoría: Luka Bloom


 06 - Nollaig Na Mban (Women's Christmas, 6th January) - Cormac Breatnach - 05:04 min.
Acoustic Guitar – Anthony Drennan, Mícheál Ó Domhnaill
Cello, Piano, Keyboards – Neil Martin
Low Whistle – Cormac Breatnach
Tenor Saxophone – Richie Buckley
Recorded By – Alan ConnaughtonAutoría:  Cormac Breatnach


 07 - Third Carol For Christmas Day - Maighread Ni Dhomhnaill & Donal Lunny - 03:58 min.
Arranged By, Bouzouki, Guitar, Keyboards, Bodhrán, Producer [Produced By] – Donal Lunny
Vocals, Arranged By  – Maighread Ní Dhomhnaill
Recorded By – Ciarán ByrneAutoría: Traditional


 08 - Snow On High Ground - Nightnoise - 03:43 min.
Piano, Keyboards, Vocals – Tríona Ní Dhomhnaill
Keyboards – Mícheál Ó Domhnaill
Producer – Nightnoise
Recorded By – Billy Oskay
Autoría: Tríona Ní Dhomhnaill


 09 - Galician Carol - Carlos Nunez - 03:09 min.
Arranged By, Bagpipes, Galician Pipes, Recorder – Carlos Nuñez
Bagpipes, Uilleann Pipes, Producer– Paddy Moloney
Bouzouki – Pancho Alvarez
Double Bass – Pablo Muzquiz
Spanish Guitar – Diego Bouzón
Harpsichord – Pablo Cano
Tambourine, Bodhrán, Timpani [Barroque] – Marcos Vazquez
Violin – Enrique Iglesias
Recorded By – Alistair McMillan
Assistent Recording – Francisco Gude
Autoría: Traditional


 10 - Soillse Na Nollag (The Lights of Christmas) - Altan - 04:39 min.
Accordion – Dermot Byrne
Arranged By, Producer – Altan
Guitar – Dáithi Sproule, Mark Kelly
Keyboards – Donal Lunny
Other [Bazaar] – Ciaran Curran
Whistle, Fiddle – Ciaran Tourish
 Vocals – Mairéad Ní Mhaonaigh
Produced & Recorded By, – Brian MastersonAutoría: Tradicional & Lyrics Proinsias Ó Maonaigh, Music Mairéad Ní Mhaonaigh


 11 - King Holly, King Oak - Johnny Cunningham - 04:17 min.
Fiddle – Johnny Cunningham
Harp – Áine Minogue
Keyboards – Mícheál Ó Domhnaill
Oboe – Cathy Halverson
Recorded By – Brian Capouch
Autoría:  Johnny Cunningham


 12 - Snow - Loreena Mckennitt - 05:36 min.
 By – Archibald Lampman
Vocals, Harp, Whistle – Loreena McKennitt
Recorded By – John Hazen
Autoría: Lyrics Archibald Lampman, Music Loreena McKennitt


 13 - We Follow A Star - Jeff Johnson & Brian Dunning - 04:58 min.
Bass – Rick Crittenden
Drums – Brian Willis
Flute [Bass] – Brian Dunning
Guitar – Derri Daugherty
Keyboards, Producer, Recorded & Mixed By – Jeff Johnson
Percussion – Roger Hadley
Vocals – Lynn Skinner 
Recorded By [Windo] – Ark MobileAutoría: Brian Dunning 



A Windham Hill Collection A Celtic Season - Editado en 1995 
13 Temas - Tiempo Total: 00:53:29 
flac @ 657 - 252,82 MB
Rippeado Por: Napi#05

http://www.1PocodMusica.com/

Reseñas:

AllMusic Review

by Ronnie D. Lankford, Jr.

Como es de esperar, cualquier colección de música navideña de Windham Hill expresa el lado pacífico y suave de la temporada. Son el mismo tipo de instrumentos que se reproducen en la parte superior creando una agradable música de fondo a la par que los compradores se apresuran a terminar la compra de regalos navideños. Y mientras que cualquier cosa etiquetada como "música de fondo" puede verse como un tímido musical, resulta casi imposible tomar un ponche de huevo y hablar con el tío Dave y la tía Suzie sobre un fondo de Alvin y las Ardillas. Las selecciones de Luka Bloom, Solus, Loreena McKennitt y otros combinan varios estilos celtas de la new age en una combinación perfecta que fluye plácida desde Phil Cunningham y Manus Lunny con su "When the Snow Melts" hasta Jeff Johnson y Brian Dunning en "We Follow a Star". Desde el punto de vista instrumental y vocal, Celtic Christmas emite un sonido tan suave como el paisaje invernal de su portada, y se basa en arreglos reducidos de arpas, gaitas, violines y teclados en una gran variedad de combinaciones. El instrumental "Nollaig Na Mban" de Cormac Breatnach (que se traduce como "Women's Christmas, 6th January") está adornado con "Low Whistle", guitarra acústica, cello, teclados y saxo tenor, y si bien eso puede sonar como un gran ensemble, la interacción cuidadosa entre los músicos todavía permite espacios abiertos y tranquilos. Para aquellos que valoran las conversaciones de navidades con parientes, o tal vez simplemente desean una música relajante en las estaciones del año más concurridas, Celtic Christmas es una isla de tranquilidad cubierta de nieve.

El Universo De La New Age

Lo Mejor de Narada y Higher Octave

1999

Listado de Temas: 

 01 - Buckethead - Machete - 06:19 min.
Comentario: extraído del álbum "Colma" 1998
Autoría: Buckethead

 02 - 3rd Force - She Whispered To Me - 04:43 min.
Comentario: extraído del álbum "Vital Force" 1997
Autoría: William Aura, Craig Dobbin, Alain Eskinasi

 03 - Jesse Cook - Byzantium Underground - 04:01 min.
Comentario: extraído del álbum "Vertigo" 1998
Autoría: Jesse Cook

 04 - Neal Schon - Zanzibar - 05:07 min.
Comentario: extraído del álbum "Beyond The Thunder" 1995
Autoría: Neal Schon, Jonathan Cain






 05 - David Lanz - Ferry Across The Mersey - 03:52 min.
Comentario: extraído del álbum "Songs From An English Garden" 1998
Autoría: Gerrand Marsden

 06 - John Whelan - The Turning Of The Season - 02:37 min.
Comentario: extraído del álbum "Come To Dance" 1999
Autoría: Robin Bullock

 07 - Hans Zimmer - Courting Song / Love In The Himalayas - 03:19 min.
Comentario: extraído del álbum "Millenium" 1992
Autoría: Hans Zimmer

 08 - Craig Chaquico - Lights Out San Francisco - 03:30 min.
Comentario: extraído del álbum "Once In A Blue Universe" 1997
Autoría: Craig Chaquico

 09 - Billy MClaughlin - While She Sleeps - 03:35 min.
Comentario: extraído del álbum "Fingerdance" 1996
Autoría: Billy McLaughlin





 10 - Michael Gettel - Cumbrian Autumn - 06:46 min.
Comentario: extraído del álbum "The Journey North" 1999
Autoría: Michael Gettel

 11 - Artie Traum - Catskill Thunder - 03:27 min.
Comentario: extraído del álbum "Meetings With Remarkable Friends" 1998
Autoría: Artie Traum

 12 - Shahin & Sepehr - Ode To A Friend - 04:53 min.
Comentario: extraído del álbum "Guitarisma 2" 1998
Autoría: Shahin Shahida, Sepher Haddad

 13 - Douglas Spotted Eagle - Firedance - 04:41 min.
Comentario: extraído del álbum "Guitarisma 2" 1998
Autoría: Douglas Spotted Eagle

 14 - Ottmar Liebert - Passing Storm - 03:58 min.
Comentario: extraído del álbum "Nouveau Flamenco" 1990
Autoría: Ottmar Liebert

 15 - Mythos - Angels Weep - 05:38 min.
Comentario: extraído del álbum "Mythos" 1998
Autoría: Bob D'Eith

 16 - Laurence Juber - Nighthawk - 04:33 min.
Comentario: extraído del álbum "Altered Reality" 1999
Autoría: Laurence Juber

  El Universo de la New Age ¬ Editado en 1999
16 Temas - Tiempo Total: 01:10:59
flac @ 762 - 372,82 MB
Rippeado Por: Napi#16


Comentario de Jorge Flo:

Comentario de Jorge Flo

Jorge Flo (Madrid, 1960) es locutor de radio y director de las cadenas musicales del grupo español Unión Radio para América Latina.
BiografíaSu carrera profesional comenzó en la emisora Radio 80, de la que formó parte desde 1982. Más tarde aparca la radio para fichar por BMG donde ejerce como director de artistas y repertorio, y en 1990 es contratado por Canal+ para encargarse del departamento de programas musicales como redactor jefe. Durante ese tiempo, se encargó de programas como Del 40 al 1 o Videominuto.
Con el lanzamiento de Canal Satélite Digital, Flo pasa a dirigir el primer canal de televisión de temática musical en España, +Música. En septiembre de 1998, Sogecable se hace por completo con la cadena y confían en Jorge para que ejerza la dirección de Sogecable Música. +Música se convierte en 40 TV, y su éxito propició el lanzamiento de 40 Latino, un canal dedicado a la música en castellano.
En 2001, Sogecable reorganiza buena parte de la cúpula directiva y Jorge Flo es requerido  [. . .]  Además, presenta el programa "Música privada" en M80. En 2011 fue trasladado a la dirección de América Latina . . . [. . .] 

Narada Decade

THE ANNIVERSARY COLLECTION

Selected Works. The First Ten Years

1993

Two Cd Set
ND2-63911




Cd 1

 101 - David Lanz - Cristofori's Dream - 06:05 min.
Autoría: David Lanz 

 102 - Friedemann - In The Court Of The Mermaid - 04:26 min.
Autoría: Friedemann

 103 - Eric Tingstad & Nancy Rumbel - Shenandoah - 05:42 min.
Autoría: Eric Tingstad 

 104 - Spencer Brewer - Tomorrow's Child - 04:51 min.
Autoría: Spencer Brewer

 105 - Trapezoid - Moon Run - 03:43 min.
Autoría: Paul Reisler 

 106 – Kostia - Girl From Barcelona - 05:56 min.
Autoría: Kostia 

 107 - Gabriel Lee - Nature Cycles Variations Part 1 (Edit) - 02:09 min.
Autoría: Gabriel Lee

 108 - Ancient Future - Hillside View - 07:02 min.
Autoría: Randy Mead 

 109 - David Lanz - Leaves On The Seine - 04:15 min.
Autoría: David Lanz 

 110 - Nando Lauria - Sonho (Dream) - 05:51 min.
Autoría: Nando Lauria  

 111 - Wayne Gratz - Circus - 02:41 min.
Autoría: Wayne Gratz, Tomoyasu Hotei

 112 - Michael Jones - Water's Edge - 08:48 min. 
Autoría: Michael Jones 

 113 - Eric Tingstad, Nancy Rumbel And David Lanz - Oaks - 04:42 min.
Autoría: Eric Tingstad, Nancy Rumbel, David Lanz 

 114 - Richard Souther - All The Way Home - 04:59 min.
Autoría: Richard Souther 

 115 - David Arkenstone With Andrew White - Carnation Lily Lily Rose - 04:48 min.
Autoría: Andrew White 

Cd 1 - 15 Temas Tiempo Total: 01:15:58

Cd 2





 201 - David Lanz & Paul Speer - Eagle's Path - 07:17 min.
Autoría: David Lanz 

 202 - Bernardo Rubaja - Break Of Day - 04:02 min.
Autoría: Bernardo Rubaja 

 203 - Richard Souther - The Long Riders - 03:31 min.
Autoría: Richard Souther 

 204 - David Arkenstone - Papillion (On The Wings Of The Butterfly) - 05:22 min.
Autoría: David Arkenstone 

 205 - Friedemann - The Man From Caesaria - 04:45 min.
Autoría: Friedemann 

 206 - Kostia - Sand And Water - 03:58 min.
Autoría: Kostia 

 207 - Michael Gettel - Memory In The Snow - 03:43 min.
Autoría: Michael Gettel 

 208 - David Lanz & Paul Speer - Behind The Waterfall - 03:31 min.
Autoría: David Lanz

 209 - David Arkenstone - Stepping Stars - 03:48 min.
Autoría: David Arkenstone 

 210 - Carol Nethen - Vivaldi - 04:56 min.
Autoría: Carol Nethen 

 211 - Peter Buffett - The Waiting - 06:36 min.
Autoría: Peter Buffett 

 212 - Spencer Brewer - Wonderland - 03:55 min.
Autoría: Spencer Brewer 

 213 - Ralf Illenberger - Fun Tango - 04:56 min.
Autoría: Ralf Illenberger, Martin Kolbe

 214 - Nando Lauria - Que Xote - 06:00 min.
Autoría: Nando Lauria 

 215 - Hans Zimmer - Millennium Theme - 03:07 min.
Autoría: Hans Zimmer 

 216 - Colin Chin - The Alluvial Plains - 07:11 min.
Autoría: Colin Chin 

Cd 2 - 16 Temas Tiempo Total: 01:16:38

2 Cd's, 31 Temas. Tiempo Total: 02:32:36
flac @ 614 - 767,35 MB
RipPor: Napi#19 para

AllMusic Review

by Johnny Loftus

Narada Decade: The Anniversary Collection celebra el décimo año de la etiqueta con dos discos de instrumentales contemporáneos. El tono del conjunto es definitivamente discreto, pero rara vez se desvía hacia el lado más heavy del sintetizador. En su lugar, habla con gusto y textura, empleando mucho piano e instrumentos poco convencionales. "The Long Riders" de Richard Souther construye una melodía emergente de sintetizadores, mientras que David Lanz en "Leaves on the Seine" muestra una pieza contemplativa de piano que fluye tan silenciosa como lo sugiere su título. Las cosas se tornan un poco liadas hacia el final del disco dos porque, aunque las piezas de Ralf Illenberger y Hans Zimmer son ambiciosas, resultan demasiado ruidosas para esta colección, que ofrece una marcheta suave, lenta y constante durante casi toda su duración. Aunque todo el contenido de este conjunto ha sido publicado anteriormente, los fans de Narada o de cualquiera de sus artistas pueden disfrutar de tener las canciones en su lugar más conveniente.

http://freetexthost.com/m0z4iawf2q

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Pat Metheny B0X03

Pat Metheny B0X03

Pat Metheny Group   Letter From Home

[HD 24-96]

1989

Acoustic And Electric Guitars, 12-String Guitar, Soprano Guitar, Tiple, Guitar Synthesizer, Synclavier – Pat Metheny
Percussion – Armando Marçal
Piano, Organ, Keyboards, Accordion, Trumpet, Synthesizer [Synclavier] – Lyle Mays
Voice, Acoustic Guitar, Marimba, Vibraphone, Tenor Saxophone, Lute [Charango], Melodica, Panpipes, Percussion [Additional] – Pedro Aznar
Drums, Percussion [Caja], Percussion [Additional] – Paul Wertico
Bass, Acoustic Bass – Steve Rodby

Producer – Pat Metheny
Co-producer – Lyle Mays, Steve Rodby
Project Coordinator – David Sholemson

Recorded Spring 1989 at Power Station, NYC.

Listado de Temas:

Side one:

01 - Have You Heard - 06:24 min.
Composición de: Pat Metheny

02 - Every Summer Night - 07:11 min.
Composición de: Pat Metheny 

03 - Better Days Ahead - 03:04 min.
Composición de: Pat Metheny

04 - Spring Ain't Here - 06:51 min.
Composición de: Pat Metheny

05 - 45-8 - 00:56 min.
Composición de: Lyle Mays, Pat Metheny

06 - 5-5-7 - 07:47 min.
Composición de: Lyle Mays, Pat Metheny

Total length: 31:05

Side two:

07 - Beat 70 - 04:52 min.
Composición de: Lyle Mays, Pat Metheny 

08 - Dream Of The Return - 05:24 min.
Composición de: Pedro Aznar, Pat Metheny

09 - Are We There Yet - 07:55 min.
Composición de: Lyle Mays, Pat Metheny

10 - Vidala - 03:01 min.
Composición de: Pedro Aznar

11 - Slip Away - 05:16 min.
Composición de: Pat Metheny

12 - Letter From Home - 02:44 min.
Composición de: Pat Metheny

Total length: 27:94

12 Temas. Tiempo Total: 01:01:25
Flac [HD 24 96] @ 2980 - 1,24 GB

1PocodMusica.com
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AllMusic Review 

 Alex Henderson

Retomando lo que Still Life (Talking) deja atrás, Letter from Home igualmente triunfante, resalta los elementos brasileños con excelentes resultados. Si bien algunos de estos tesoros, incluidos "Beat 70", "Have You Heard" y "Every Summer Night", son lo suficientemente livianos y accesibles como para haberlos escuchado en algunas emisoras de smooth jazz, Letter contiene el tipo de profundidad y honestidad del cual es muy deficiente el smooth jazz, Metheny siempre ha sabido la diferencia entre lo ligero y lo de peso liviano, e incluso en su forma más delicada, siempre evita entrar en el territorio "Muzak". Fiel a su forma, el improvisador no teme hacer un uso extensivo de la tecnología, pero es lo suficientemente perspicaz para hacerlo de una manera muy cálida y conmovedora. Al igual que Still Life, Letter from Home es un buen ejemplo de un CD que es tanto  éxito comercial como lo es artístico.






DiscoGs

Pat Metheny Group ‎– Letter From Home

Formato: CD, Album
País: Canada Fecha: 29 Jun 1989
Género: Jazz
Estilo: Smooth Jazz, Contemporary Jazz, Latin Jazz

Créditos
Engineer [Additional] – Roy Hendrickson
Engineer [Assistant] – Bruce Calder
Mastered By – Bob Ludwig
Mixed By – Alexander Haas (tracks: 3, 5, 7, 9 to 11),
Rob Eaton (tracks: 1, 2, 4, 6, 8, 12)

Producer [Associate] – David Oakes, Paul Wertico
Recorded By – Rob Eaton
Technician [Assistant] – Niki Gatos


Wikipedia

Letter from Home es un álbum del Pat Metheny Group, lanzado en 1989 en Geffen Records. El álbum ganó el Premio Grammy a la Mejor Interpretación de Fusión de Jazz en 1990.

El álbum marcó el regreso de Pedro Aznar, quien se convirtió en miembro del P.M.Group en el álbum First Circle, aportando nuevas vías vocales a la formación. También enfatizó el aumento de diversidad instrumental y constituyó un gran éxito comercial. "Slip Away" fue, como dijo Metheny, "extraordinariamente exitoso, una de las canciones individuales más exitosas que hemos hecho".

Pat Metheny Group   The Road To You

1993

 (Recorded Live In Europe)

Recorded Spring 1989 By – Le Voyageur II
In Bari, Jesi, Naples & Pescara, Italy and in Besançon, Marseilles, Paris, France
Additional recording from the "More Travels" Video
Mastered at Sterling Sound, NYC.
Mixed at The Hit Factory, March '93

Bass, Acoustic Bass – Steve Rodby
Drums, Percussion – Paul Wertico
Guitar, Acoustic Guitar, Guitar [Synths], Producer – Pat Metheny
Percussion, Timbales, Congas, Voice – Armando Marçal
Piano, Keyboards, Other [Associate Producer] – Lyle Mays
Voice, Acoustic Guitar, Percussion, Saxophone, Steel Drums, Vibraphone, Marimba, Melodica – Pedro Aznar
Written-By – Mays (tracks: 2, 4, 8, 10), Metheny

Artwork By [Art], Design – Andrew Reid-Shed

Notas

Track 2 is from the album 'First Circle' 
2 First Circle 8:39

Tracks 5 & 10 are from the album 'Still Life (Talking)'
5 Last Train Home 5:10
10 Third Wind 8:39

Tracks 6, 8 & 9 are from the album 'Letter From Home'
6 Better Days Ahead 4:55
8 Beat 70 4:40
9 Letter From Home 2:18

Track 11 is an audio excerpt from the video 'More Travels'
11 Solo From 'More Travels'
Acoustic Guitar – Pat Metheny


Listado de Temas:

01 - Have You Heard - 06:47 min.
Composición de: Pat Metheny

02 - First Circle - 09:03 min.
Composición de: Lyle Mays, Pat Metheny

03 - The Road To You - 05:44 min.
Composición de: Pat Metheny

04 - Half Life Of Absolution - 15:18 min.
Composición de: Lyle Mays, Pat Metheny

05 - Last Train Home - 05:19 min.
Composición de: Pat Metheny

06 - Better Days Ahead - 05:12 min.
Composición de: Pat Metheny

07 - Naked Moon - 05:29 min.
Composición de: Pat Metheny

08 - Beat 70 - 05:06 min.
Composición de: Lyle Mays, Pat Metheny

09 - Letter From Home - 02:33 min.
Composición de: Pat Metheny

10 - Third Wind - 09:46 min.
Composición de: Lyle Mays, Pat Metheny

11 - Solo From 'More Travels' - 03:45 min.
Composición de: Pat Metheny 
Comentario: Solo de Acústica Pat Metheny 


11 Temas. Tiempo Total: 01:14:02
flac @ 902 - 433,31 MB




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Reseñas y comentarios:

Pat Metheny Group ‎– The Road To You (Recorded Live In Europe)
Formato: CD, Album
País: UK & Europe Fecha: Jul 1993
Género: Jazz - Estilo: Contemporary Jazz

Créditos
Co-producer – David Oakes, Steve Rodby
Coordinator [Tour & Project Coordinator] – David Sholemson
Edited By [Digital Editing And Assembly] – Niki Gatos, Peter Mews
Engineer [Live Recording Assistant] – John Harris, Randy Ezratty, Rene Weis, Vincent Pitras, Yves Jaget
Management [Tour Manager] – Kevin Wilkins
Mastered By – Ted Jenson
Mixed By [Assistant] – Neil Perry
Mixed By [Assistant], Other [Production Manager], Mixed By [Live Sound] – David Oakes
Other [Light Design/operator] – Ian Donald
Other [Lights] – Pete D'Lemos
Photography – C.J. Allen, Guido Harari, J.M. Birraux, Ricardo Murad
Recorded By [Additional Live Remote] – Effanel Music
Recorded By, Mixed By, Other [Associate Producer], Photography – Bob Eaton
Technician [Drums] – Jody Durham, Scott Mallon
Technician [Guitar] – Carolyn Chrzan
Technician [Keyboards] – Guy Vignola
Technician [Sound] – Ty Bertrand


AllMusic Review

by Alex Henderson

Cuando Metheny festeja su lado cerebral, generalmente se embarca en algo digamos que accesible. Después de su difícil pero gratificante colaboración con John Scofield, en I Can See Your House from Here", Metheny enfatiza la accesibilidad con este cautivador álbum en vivo. El enfoque principal está en su material con influencia brasileña de los discos Still Life (Talking) y Letter from Home. El muy cohesivo Pat Metheny Group ofrece versiones expresivamente características de favoritos como "Have You Heard," "Beat 70," and "Better Days Ahead" . Si bien podría haber ofrecido una variedad más amplia de material y quizás haber revisado algunas de sus primeras gemas, todo lo que incluye se muestra honesto y sincero. Afortunadamente, el énfasis de Metheny en la accesibilidad y la satisfacción de la multitud no se produce a expensas de su integridad artística.

Pat Metheny Group   We Live Here

1995

Recorded and mixed at The Hit Factory, NYC 1994.
Additional recording Miami, FL and Willow, NY
Recorded By, Mixed By – Rob Eaton

Notas

Release Date 1995
Duration 01:07:09
Genre Jazz
Styles Crossover Jazz Contemporary Jazz
Fusion Guitar Jazz Jazz Instrument Jazz-Pop Post-Bop

Cymbal [Additional Cymbal Rolls] – Dave Samuels
Double Bass [Acoustic], Electric Bass – Steve Rodby
Drums – Paul Wertico
Guitar, Synthesizer [Guitar Synths] – Pat Metheny
Percussion – Luis Conte
Piano, Keyboards – Lyle Mays
Vocals – David Blamires
Vocals, Whistling, Flugelhorn, Trumpet – Mark Ledford

Listado de Temas:

01 - Here To Stay - 07:34 min.
Composición de: Lyle Mays, Pat Metheny 

02 - And Then I Knew - 07:50 min.
Composición de: Lyle Mays, Pat Metheny 

03 - The Girls Next Door - 05:32 min.
Composición de: Lyle Mays, Pat Metheny 

04 - To The End Of The World - 12:10 min.
Composición de: Lyle Mays, Pat Metheny 

05 - We Live Here - 04:10 min.
Composición de: Lyle Mays, Pat Metheny 

06 - Episode d'Azur - 08:43 min.
Composición de: Lyle Mays 

07 - Something to Remind You - 07:00 min.
Composición de: Lyle Mays, Pat Metheny

08 - Red Sky - 07:32 min.
Composición de: Lyle Mays, Pat Metheny

09 - Stranger In Town - 06:05 min.
Composición de: Lyle Mays, Pat Metheny 


9 Temas. Tiempo Total: 01:06:36
flac @ 944 - 426,41 MB

1PocodMusica.com
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Formato: CD, Album  País: US Fecha: 1995
Género: Jazz Estilo: Fusion, Contemporary Jazz



Créditos
Art Direction, Design – Kevin Reagan
Co-producer – Lyle Mays, Steve Rodby
Coordinator [Project] – David Sholemson
Drum Programming – Sammy Merendino
Engineer [Assistant] – Andy Grassi, David Oakes, Neal Perry
Executive-Producer [Associate] – David Oakes, Rob Eaton
Mastered By – Ted Jensen
Photography By – Dennis Keeley, Rick Dunn
Photography By [Studio] – David Cantor
Producer – Pat Metheny
Technician [Guitar] – Carolyn Chrzan
Technician [Piano Tuning] – Tom Sheehan
Technician [Synclavier], Other [Library Assistance] – Niki Gatos





AllMusic Review

by Scott Yanow

La primera grabación de Pat Metheny Group después de cinco años es un poco inusual en un par de sentidos: la banda utiliza ritmos pop "contemporáneos" en muchas de sus selecciones, pero de manera creativa y sin diluir la identidad musical del popular grupo. Además, Metheny, por primera vez en su carrera de grabación, en algunas de las canciones suena un tanto a sus tempranas influencias de Wes Montgomery. Con sus acompañantes (el teclista Lyle Mays, el bajista Steve Rodby y el baterista Paul Wertico) en plena forma, Metheny reconcilia con éxito el sonido de su cuarteto con el del mundo de la música pop, utilizando la tecnología moderna para ampliar las posibilidades de su inusual visión creativa dentro de la música improvisada Y como beneficio adicional, algunas de las melodías son pegadizas.

Pat Metheny    The Unity Sessions

[Flac HD 24-96 AndBluRay]

2016

"The Unity Sessions" es un álbum en  directo del guitarrista de jazz estadounidense Pat Metheny, que cuenta con Chris Potter en el saxofón y el clarinete bajo, Giulio Carmassi en teclados, Ben Williams en el bajo y Antonio Sánchez en la batería. Fue grabado en vivo en una caja negra sin audiencia, excepto los profesionales de sonido, iluminación y equipo de cámara. La grabación se lanzó en DVD y Blu-Ray en 2015, y luego como doble CD en 2016.

Recorded at the 52nd St. Project, New York, NY
Recorded by David Oakes, Pete Karam
Mastered by Ted Jensen at Sterling Sound, New York City
Edited by Steve Rodby
Mixed by Pete Karam



Credits
Arranged and produced by Pat Metheny
Co-produced by Steve Rodby
Director of photography – Robbie Stauder
Executive Producer – Pat Metheny, Ted Kurland, David Sholemson
Film Director – Matthew Beighley


Acoustic & Electric Bass – Ben Williams
Acoustic Guitar, Electric Guitar, Electronics, Guitar Synthesizer, Orchestrionics – Pat Metheny
Bass Clarinet, Flute & Guitar, Soprano & Tenor Saxophone – Chris Potter
Cajón, Drums  – Antonio Sánchez
Flugelhorn, Piano, Synth, Vocals, Whistling – Giulio Carmassi

Listado de Temas:

Disc one:

 01 - Adagia - 02:09 min.
Pat Metheny

 02 - Sign of the Season - 10:43 min.
Pat Metheny

 03 - This Belongs to You - 05:40 min.
Pat Metheny

 04 - Roof Dogs - 07:50 min.
Pat Metheny

 05 - Cherokee - 05:02 min.
Written by Ray Noble

 06 - Genealogy - 02:05 min.
Pat Metheny

 07 - On Day One - 15:18 min.
Pat Metheny

 08 – Medley: Phase Dance, Minuano, Midwestern Nights,
The Sun in Montreal, Omaha Celebration, Antonia, Last Train Home - 10:53 min.
Pat Metheny

Total length: 58:20

Disc two:

 09 - Come and See - 12:55 min.
Pat Metheny

 10 - Police People - 02:53 min.
Written by Ornette Coleman, Pat Metheny

 11 - Two Folk Songs - 04:59 min.
Pat Metheny

 12 - Born - 07:52 min.
Pat Metheny

 13 - Kin (<-->) - 11:06 min.
Pat Metheny

 14 - Rise Up - 12:28 min.
Pat Metheny

 15 - Go Get It - 04:19 min.
Pat Metheny

Total length: 54:74

2 Cd's, 15 Temas - Tiempo Total: 01:56:12
flac @ 1279 - 1,34 GB
Flac HighResAudio, 24bit 48khz





Pat Metheny - The Unity Sessions
Label: Nonesuch Records
Released: 2016
Genre: Jazz, Fusion


El álbum recibió críticas mayormente favorables, en Metacritic se le otorga una puntuación del 80% en las críticas. La reseña de AllMusic realizada por Matt Collar dice que "En última instancia, mientras que Metheny es el líder indiscutible aquí, es la interacción reflexiva de todos los miembros del Grupo de la Unidad lo que hace que estas sesiones sean tan involucradas".  En The Observer, Dave Gelly escribió: "Este álbum doble, grabado al final de una gira de un año de su Unity Band, es tan refinado y sofisticado como cualquiera, pero momentos como la melodía de apertura de" This Belongs to You "o el desarrollo gradual de "Born" es simplemente elegante ". Al escribir para The Guardian, John Fordham observó: "aquí hay una sensación de libertad generalmente estimulante, especialmente en los intercambios de improvisación entre los intérpretes y con la "máquina de orquestación de un solo hombre" de Metheny, que demuestra la sintonía constante de los conciertos".

Pat Metheny ‎– The Unity Sessions Blu-ray

Recorded December 2014, New York City. An Eagle Vision release
Fecha lanzamiento: 18 Sep 2015
Género: Jazz





Acoustic & Electric Bass – Ben Williams
Acoustic Guitar, Electric Guitar, Electronics, Guitar Synthesizer, Orchestrionics – Pat Metheny
Bass Clarinet, Flute & Guitar, Soprano & Tenor Saxophone – Chris Potter
Cajón, Drums  – Antonio Sánchez
Flugelhorn, Piano, Synth, Vocals, Whistling – Giulio Carmassi

Pistas

1 Geneaology
Composed By – Pat Metheny

2 On Day One
Composed By – Pat Metheny

3 This Belongs To You
Composed By – Pat Metheny

4 Roofdogs
Composed By – Pat Metheny

5 Come And See
Composed By – Pat Metheny

6 Kin
Composed By – Pat Metheny

7 Born
Composed By – Pat Metheny

8 Rise Up
Composed By – Pat Metheny

9 Adagia
Composed By – Pat Metheny

10 Sign Of The Season
Composed By – Pat Metheny

11 Go Get It
Composed By – Pat Metheny

12 Cherokee
Composed By – Brad Mehldau, Charlie Haden

13 Police People
 Ornette Coleman Pat Metheny

14 Two Songs {#1)
Composed By – Pat Metheny

15 Medley
Composed By – Pat Metheny

16 (Bonus Interview)

Total length: 102:41

Créditos

Recorded By – David Oakes, Pete Karam
Edited & Produced By – Steve Rodby
Executive Producer – Pat Metheny, Ted Kurland
Mastered By – Ted Jensen
Mixed By – Pete Karam

Composed By – Brad Mehldau (tracks: 12), Charlie Haden (tracks: 12), Lee Konitz (tracks: 12), Ornette Coleman Pat Metheny (tracks: 13), Pat Metheny (tracks: 1,2,3,4,5,6,7,8,9,10,11,14,15)

Directed By – Matt Beighley
Direction Of Photography – Robbie Stauder

http://freetexthost.com/0ysgdw1cd1

Read More

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
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

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
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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