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Jazz - Verschenen op 1 januari 1970 | ECM

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Jazz - Verschenen op 1 december 1970 | ECM

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Jazz - Verschenen op 15 maart 1971 | ECM

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Jazz - Verschenen op 15 oktober 1971 | ECM

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Jazz - Verschenen op 1 maart 1973 | ECM

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography - Indispensable JAZZ NEWS
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Jazz - Verschenen op 1 maart 1973 | ECM

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography - Indispensable JAZZ NEWS - Hi-Res Audio
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Jazz - Verschenen op 16 april 1973 | ECM

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Jazz - Verschenen op 1 augustus 1974 | ECM

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Jazz - Verschenen op 1 augustus 1974 | ECM

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Jazz - Verschenen op 1 januari 1975 | ECM

Onderscheidingen The Qobuz Ideal Discography - Qobuz Referentie
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Jazz - Verschenen op 30 november 1975 | ECM

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography - Qobuz Referentie
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Jazz - Verschenen op 1 maart 1976 | ECM

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
For a first attempt, it's a masterstroke! Released in 1976, Bright Size Life was Pat Metheny's first record as a leader. Just 21 years old, the American guitarist already showed a real maturity as a virtuosic composer and performer. He joined forces with Jaco Pastorius on bass and Bob Moses on a flexible and dynamic drum kit. These ideal accomplices allowed him to develop what would later become his trademark sound: a fluid and often lyrical style. The wide, open spaces of his native Midwest were reflected in his guitar playing as well as in the track titles (Missouri Uncompromised, Midwestern Nights Dream and Omaha Celebration). A great wisdom emerged from this clear and beautiful album (Jim Hall's influence is evident) which closes with Round Trip/Broadway Blues, an unexpected medley of two pieces by Ornette Coleman, one of Metheny's idols, with whom he would go on to record Song X ten years later. But underneath this calm surface, this young virtuoso wanted to change the world. He explained this in an interview with Just Jazz Guitar in 2001: “Even though Bright Size Life may not sound like it, we were pissed off. That album is a very strong political statement from us on how we felt about what our instruments needed to do to remain relevant in jazz. Listening to it now, with 25 years of perspective, I think our message got across, I believe we did change things. That album was a manifesto of some very specific things that we felt strongly about, in terms of harmony, in terms of interaction, in terms of the sound of the instruments. You have to listen to that album to hear where we were at that time.” © Marc Zisman/Qobuz
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Jazz - Verschenen op 1 mei 1976 | ECM

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Jazz - Verschenen op 1 mei 1976 | ECM

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Jazz - Verschenen op 1 november 1976 | ECM

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Jazz - Verschenen op 1 november 1976 | ECM

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Jazz - Verschenen op 1 november 1976 | ECM

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Jazz - Verschenen op 1 mei 1977 | ECM

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Jazz - Verschenen op 1 mei 1977 | ECM

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Jazz - Verschenen op 1 september 1977 | ECM

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