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Jazz - Verschenen op 3 februari 2014 | Nonesuch

Hi-Res Booklet Onderscheidingen Indispensable JAZZ NEWS - Hi-Res Audio
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Jazz - Verschenen op 8 juni 2012 | Nonesuch

Booklet Onderscheidingen 4F de Télérama - Le top 6 JAZZ NEWS
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Jazz - Verschenen op 1 maart 1976 | ECM

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 6 mei 2016 | Nonesuch

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
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Jazz - Verschenen op 1 april 1984 | ECM

Onderscheidingen De Muzikale Rariteiten
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Jazz - Verschenen op 17 mei 2013 | Nonesuch

Onderscheidingen Indispensable JAZZ NEWS
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Jazz - Verschenen op 21 februari 2020 | Nonesuch

Hi-Res Booklet
According to Pat Metheny, From This Place is not just another album to add to his already super-size discography. “I have been waiting my whole life to make this record,” the guitarist from Missouri says outright. “It’s a kind of musical culmination, reflecting a wide range of expressions that have interested me over the years, scaled across a large canvas, presented in a way that offers the kind of opportunities for communication that can only be earned with a group of musicians who have spent hundreds of nights together on the bandstand.” With his longtime collaborator, drummer Antonio Sanchez along with bassist Linda May Han Oh, pianist Gwilym Simcock and the Hollywood Studio Symphony conducted by Joel McNeely, Metheny begins his ambitious project with a composition of over thirteen minutes, America Undefined, centred around a beautiful arrangement by Gil Goldstein. The lyricism of the theme, the theatrical arches and the inspired but never over zealous interjections from the guitar come together to form this majestic landscape. Pat Metheny manages to avoid falling into the classic traps of symphonic jazz, instead proving to be quite the master of creating an amazing melodic line. This is not surprising, as already with the release of As Falls Wichita, So Falls Wichita Falls with ECM in 1981, an album he made with keyboard player Lyle Mays (who passed away 15 days before the release of From This Place), he excelled in perfectly calibrated lyrical narration. This level of craftsmanship returns on Same River, a prime example of the kind of composition that could easily fall into the banal or the tear-jerking but manages to remain purely beautiful. With Meshell Ndegeocello on vocals, Grégoire Maret on the harmonica and Luis Conte on percussion for certain tracks, the American guitarist has carefully chosen his guests, whose contributions only serve to confirm the precision of Metheny’s vision, a concept much more easily understood after listening to the album in full. © Max Dembo/Qobuz
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Bebop - Verschenen op 14 juni 2011 | Nonesuch

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Jazz - Verschenen op 1 september 1980 | ECM

In 1980, Pat Metheny had already garnered an impressive level of popularity. With sold out tours and their consequential album sales, the guitarist had imposed upon the scene a sound and style which was already being adopted by others. And under the banner of the Pat Metheny Group with Lyle Mays, Mark Egan and Danny Gottlieb, this success was furthered all the more. But some of jazz’s ayatollahs were still somewhat sceptical of his youth-carried success (Metheny himself was only 25 at the time)… With 80/81, which was recorded in May 1980 under the label ECM, things were soon to change. At the long-haired guitarist’s side was Munich-based producer Manfred Eicher. Eicher had the judicious idea of uniting, in Oslo’s Talent Studios, a pianist-free group comprising of four incontestable big names: bassist Charlie Haden, drummer Jack DeJohnette and tenor saxophonists Dewey Redman and Michael Brecker. What could have been merely a flashy and pointless casting turned out to be quite the opposite! On this copious one hour and twenty minute double album that’s as electric (on the beginning and end sections of the record) as it is acoustic, Pat Metheny shows all his colours, and writes the best part of the songs himself. Most importantly, these famed sidemen are stylistically a long-shot from his usual musical compadres. And the exchanges between this most-harmonious five are incredibly inspiring. Former musicians in Keith Jarett’s 1971-1976 quartet and match made in heaven, Charlie Haden and Dewey Redman seamlessly accommodate our young guitar maestro. No shock if you are aware of the relationship Metheny and Haden, both ailing from Missouri (they would record together some years later), have for North American folkloric music which shines through on this album. DeJohnette expertly weaves in and out of this tight canvas and is a central part of 80/81. The drummer carries a voice here that succeeds in standing out whilst remaining in harmony with others. And on songs like Open it is impossible to tear away your ear for even a second from the magical sound of his drumsticks. Finally, the saxophonists voices are opposing yet succeed in cementing their own place (Brecker is on fire on the opening of Two Folk Songs and Redman playful on his solo in Pretty Scattered). A double album which, as the years go by and after multiple listens, will stand strong among the vast discography of its artist. © Marc Zisman/Qobuz
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Bebop - Verschenen op 24 april 2009 | Nonesuch

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Jazz - Verschenen op 23 september 2007 | Nonesuch

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Jazz - Verschenen op 12 september 2006 | Nonesuch

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Bebop - Verschenen op 3 oktober 2008 | Nonesuch

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Bebop - Verschenen op 2 juni 2009 | Nonesuch

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Jazz - Verschenen op 5 maart 2007 | Nonesuch

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Jazz - Verschenen op 5 november 1999 | Warner Jazz

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Jazz - Verschenen op 1 mei 1977 | ECM

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Bebop - Verschenen op 14 juni 2011 | Nonesuch

Booklet
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Jazz - Verschenen op 1 april 1984 | ECM

Recorded August 1978 in Oslo ("Sueño Con México"), June 1979 in Brookfield, Massachusetts ("(Cross The) Heartland"), in concert 1982 ("Travels"), October 1981 in New York ("James"), September 1980 in Oslo ("It's for You"), May 1980 in Oslo ("Every Day (I Thank You" & "Goin' Ahead")
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Jazz - Verschenen op 1 maart 1979 | ECM