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Jazz - Publicado el 7 de febrero de 2006 | Nonesuch

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Jazz - Publicado el 1 de enero de 1983 | ECM

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Jazz - Publicado el 1 de enero de 1978 | ECM

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Jazz - Publicado el 1 de octubre de 1981 | ECM

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Jazz - Publicado el 1 de enero de 1983 | ECM

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Jazz - Publicado el 1 de enero de 1984 | ECM

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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 /TiVo
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Jazz - Publicado el 1 de octubre de 1981 | ECM

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Jazz - Publicado el 9 de mayo de 2006 | Nonesuch

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Jazz - Publicado el 1 de febrero de 1980 | ECM

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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. © Richard S. Ginell /TiVo
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Jazz - Publicado el 1 de enero de 1997 | Warner Jazz

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Jazz - Publicado el 12 de febrero de 2002 | Warner Jazz

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Jazz - Publicado el 1 de enero de 1978 | ECM

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Jazz - Publicado el 9 de mayo de 2006 | Nonesuch

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Variété internacional - Publicado el 24 de enero de 2005 | Nonesuch

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Jazz - Publicado el 1 de enero de 1993 | Geffen

Grabado en vivo en Italia y Francia en 1993 durante una gira europea del Pat Metheny Group, The Road to You se beneficia del entusiasmo del público, que incluso llega a corear las cautivantes melodías del guitarrista. Acompañado de sus habituales laderos Lyle Mays (teclados), Steve Rodby (bajo) y Paul Wertico (batería), a los que suman el multi-instrumentista argentino Pedro Aznar y el percusionista brasileño Armando Marçal, Metheny se luce en un programa compuesto por explosivas versiones de clásicos del repertorio del grupo como "First Circle" o "Have You Heard". El álbum también introduce algunas composiciones inéditas como "Half Life of Absolution" o la acústica "Solo from More Travels", esta última grabada en estudio. © TiVo
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Bandas sonoras de cine - Publicado el 1 de enero de 1985 | Capitol Records

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Jazz - Publicado el 1 de enero de 1984 | ECM

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 /TiVo
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CD13,99 €

Jazz - Publicado el 1 de febrero de 1980 | ECM

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. © Richard S. Ginell /TiVo

Rock - Publicado el 27 de agosto de 2019 | SHOCKWAVES

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Jazz - Publicado el 1 de marzo de 1989 | Geffen

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Picking up where Still Life (Talking) leaves off (instead of throwing listeners a curve ball like Song X), the equally triumphant Letter from Home stresses Brazilian elements with superb results. While a number of these treasures -- including "Beat 70," "Have You Heard," and "Every Summer Night" -- are light and accessible enough to have enjoyed exposure on some smooth jazz stations, Letter contains the type of depth and honesty that's sorely lacking in most smooth jazz. Metheny has always known the difference between light and lightweight, and even at his most delicate, he avoids entering "Muzak" territory. True to form, the improviser doesn't shy away from making extensive use of technology, but is insightful enough to do so in a very warm and soulful fashion. Like Still Life, Letter from Home is a fine example of a CD that is both a commercial and an artistic success. © Alex Henderson /TiVo