(JazzPlanet) Pat Metheny - Day Trip 2008(Eac Flac Cue) (UF)
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(JazzPlanet) Pat Metheny - Day Trip 2008(Eac Flac Cue) (UF)
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Pat Metheny - Day Trip (Eac Flac Cue) (UF)
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Pat Metheny Trio - Day Trip
Title: Day Trip
Leader Artist: Pat Metheny
Audio CD (January 29, 2008)
Original Release Date: January 29, 2008
Label: Nonesuch Records
Genre: Jazz Contemporaneo, Post bop
Extractor: EAC 0.99 prebeta 4
Read Mode: Secure with NO C2, accurate stream, disable cache.
Codec: Flac 1.2.1; Level 8
Flac Single Track
Size Torrent: 399 Mb
Artwork: "Cover included [/b]
Link Listen to samples
1. Son of Thirteen 5:49
2. At Last You're Here 7:58
3. Let's Move 5:21
4. Snova 5:56
5. Calvin's Keys 7:24
6. Is This America? 4:33
7. When We Were Free 8:59
8. Dreaming Trees 7:46
9. The Red One 4:47
10. Day Trip 9:03
Pat Metheny - guitars
Christian McBride -acoustic bass
Antonio Sanchez - drummer
Patrick Bruce Metheny (born August 12, 1954 in Lee's Summit, Missouri) is a world renowned American jazz guitarist and leader of the Pat Metheny Group as well as various collaborations, duets, solo works, and other side projects.
Metheny was born and raised in Missouri. Following his graduation from Lee's Summit High School, he attended the University of Miami in Coral Gables, Florida.
Metheny came onto the jazz scene quickly in 1975, at the age of 21, after joining Gary Burton's band and then recording a trio record with Jaco Pastorius called Bright Size Life. Metheny's next recording, 1977's Watercolors, featured pianist Lyle Mays. Metheny's next album formalized this partnership and began the Pat Metheny Group, featuring several songs co-written with Mays; the album was released as the self-titled Pat Metheny Group on the ECM record label. Pat Metheny also has released notable solo, trio, quartet and duet recordings with musicians such as Jim Hall, Dave Holland, Roy Haynes, Gary Burton, Chick Corea, Charlie Haden, John Scofield, Jack DeJohnette, Herbie Hancock, Bill Stewart, Ornette Coleman, Brad Mehldau, and many others.
Pat Metheny has also joined projects of all kinds both as a player and a writer, notably the record Song X with Ornette Coleman; Parallel Realities; and Jazz Baltica, with Ulf Wakenius and other Nordic Jazz players and plays with some great female musicians such as Silje Nergaard on Tell Me Where You're Going (1990), Noa on Noa (1994) and Anna Maria Jopek on Upojenje (2002).
Pat Metheny has been touring for more than 30 years, averaging 120-240 concerts a year. Metheny has written over 200 pieces and continues to push musical limits in both his composition and performance.
When working outside of the confines of the PMG, Metheny has shown different sides to his musical personality. Working with established jazz figures such as Ornette Coleman, Michael Brecker, Charlie Haden, Dave Holland, Christian McBride, David Sanchez and Roy Haynes, he has made records that have found favor with jazz critics that were disparaging of the "pastoral" or "light rock" aspects of his work with the PMG. Projects like the collaboration with Derek Bailey and Zero Tolerance for Silence have confounded critics who saw Metheny as following a path of increasing blandness with the PMG.
Continuing the tradition of jazz guitarists borrowing tones and techniques from their rock counterparts, Metheny has made alterations to the jazz guitar tone palette.
As a guitarist, Metheny cites Wes Montgomery as his biggest early influence. His playing (as well as his tone) also show significant influence by Jim Hall, Kenny Burrell, Joe Pass, and other classic jazz players. Metheny has often been quoted saying that he is as likely to name non-guitarists as significant stylistic influences as fellow guitar players, giving as examples players like Clifford Brown and John Coltrane. He has paid significant attention to the evolution of guitar playing across genres, however, and is familiar with the playing of notables from the likes of rocker Eddie Van Halen to Windham Hill artist Leo Kottke.
In particular, he has been influenced by Brazilian music--both the European-influenced jazz sound of the bossa nova and the intensely polyrhythmic Afro-Brazilian sounds of the country's northeast. Metheny has lived in Brazil and performed with several local musicians such as Milton Nascimento and Toninho Horta.
Metheny has also named Ornette Coleman as a musical influence. He has recorded Coleman compositions on a number of his records (starting with a medley of "Round Trip" and "Broadway Blues" on his debut Bright Size Life); worked extensively with Coleman collaborators such as Charlie Haden, Dewey Redman, and Billy Higgins; and has even made a record, Song X, with Coleman.
This new album finds guitarist Pat Metheny on solid ground. You know exactly where you are from the opening bars of Son Of Thirteen. It's a typical post-bop theme with a vaguely Latin feel and it kicks off an album that follows the classic jazz trio format.
Metheny hooks up with his regular partners, Christian McBride on double bass and Antonio Sanchez on drums. As you'd expect for musicians who have played hundreds of dates together they're very comfortable in each other's company, with McBride really shining throughout.
The music is slick and relaxed and Metheny's playing is inventive with a light, bright tone. Let's Move is uptempo and tough while At Last You're Here, Snova and Dreaming Trees are more reflective. Taken as a whole the album is a perfectly pleasant, and that's the problem.
You can't deny Metheny's technical prowess but his tone can be bland and cloying in places. He still can't resist the temptation of turning on the horrible guitar synthesiser half way through When We Were Free just when it was shaping up to be one of the album's best tracks. Meanwhile Calvin's Keys tries for a classic jazz shuffle but is too loose and fluffy to swing as hard as it should.
To many ears it may appear that Metheny doesn’t seem to have anything interesting to say. Is This America? (Katrina 2005) is a pretty acoustic theme with an odd resemblance to Danny Boy. But the title of the track asks questions that the music does not. If he is trying to express something about Hurricane Katrina, it's not clear.
These things may bother casual listeners yet they won’t bother Metheny’s legion of admirers for whom the Missouri boy is still the stripey-shirted king of modern jazz guitar. In the end, Day Trip says nothing but says it sweetly.
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