  |
|
|
 |
| New Chautauqua |
| Pat Metheny |
| első megjelenés éve: 1979 |
|
| (2008)
[ DIGIPACK ]
|
|
|
| 1. | New Chautauqua
|
| 2. | Country Poem
|
| 3. | Long Ago Child/Fallen Star
|
| 4. | Hermitage
|
| 5. | Sueno con Mexico
|
| 6. | Daybreak
|
Jazz
Recorded August 1978
Touchstones Series
Pat Metheny electric 6- and 12-string guitars, acoustic guitar, 15-string harp guitar, electric bass
Landmark recording and old favourites - greatest hits, effectively - from the formative years of one of jazz's most influential guitarists. This :rarum CD features the perennially popular Pat Metheny Group, the 80/81 ensemble and Metheny's trios with Jaco Pastorius/Bob Moses and Charlie Haden/Billy Higgins. Detailed liner notes by Metheny sketch the origin of each featured tune and recall his enthusiasm about "recording for one of the most exciting and interesting record labels to emerge in many years."
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.
---Thom Jurek, All Music Guide
Pat Metheny
Active Decades: '70s, '80s, '90s and '00s
Born: Aug 12, 1954 in Lee's Summit, MO
Genre: Jazz
Styles: Fusion, Post-Bop, Contemporary Jazz, Folk-Jazz, Progressive Jazz
One of the most original guitarists from the '80s onward (he is instantly recognizable), Pat Metheny is a chance-taking player who has gained great popularity but also taken some wild left turns. His records with the Pat Metheny Group are difficult to describe (folk-jazz? mood music?) but managed to be both accessible and original, stretching the boundaries of jazz and making Metheny famous enough so he could perform whatever type of music he wants without losing his audience. Metheny (whose older brother is the trumpeter Mike Metheny) started on guitar when he was 13. He developed quickly, taught at both the University of Miami and Berklee while he was a teenager, and made his recording debut with Paul Bley and Jaco Pastorius in 1974. He spent an important period (1974-1977) with Gary Burton's group, met keyboardist Lyle Mays, and in 1978 formed his group, which originally featured Mays, bassist Mark Egan, and drummer Dan Gottlieb. Within a short period he was ECM's top artist and one of the most popular of all jazzmen, selling out stadiums. Metheny mostly avoided playing predictable music, and his freelance projects were always quite interesting. His 1980 album 80/81 featured Dewey Redman and Mike Brecker in a post-bop quintet; he teamed up with Charlie Haden and Billy Higgins on a trio date in 1983; and two years later recorded the very outside Song X with Ornette Coleman. Among Metheny's other projects away from the group were a sideman recording with Sonny Rollins; a 1990 tour with Herbie Hancock in a quartet; a trio album with Dave Holland and Roy Haynes; and a collaboration (and tour) with Joshua Redman. Although his Zero Tolerance for Silence in 1994 was largely a waste (40 minutes of feedback), Metheny retained his popularity and remained a consistently creative performer. He has recorded as a leader for ECM (starting in 1975), Geffen, Warner Brothers, and Nonesuch. Metheny remained active in the 21st century, releasing Speaking of Now in 2002, the solo One Quiet Night in 2003, Way Up in 2005, and Metheny Mehldau in 2006. Metheny and pianist Brad Mehldau returned to the studio the following year for Quartet. Metheny released the trio album Day Trip in 2008.
---Scott Yanow, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
