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Pat Metheny
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Pat Metheny was born in Kansas City on August 12, 1954 into a musical family. Starting on trumpet at the age of 8, Metheny switched to guitar at age 12. By the age of 15, he was working regularly with the best jazz musicians in Kansas City, receiving valuable on-the-bandstand experience at an unusually young age. Metheny first burst onto the international jazz scene in 1974. Over the course of his three-year stint with vibraphone great Gary Burton, the young Missouri native already displayed his soon-to-become trademarked playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility - a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues. With the release of his first album, Bright Size Life (1975), he reinvented the traditional "jazz guitar" sound for a new generation of players. Throughout his career, Pat Metheny has continued to re-define the genre by utilizing new technology and constantly working to evolve the improvisational and sonic potential of his instrument. METHENY'S versatility is almost nearly without peer on any instrument. Over the years, he has performed with artists as diverse as Steve Reich to Ornette Coleman to Herbie Hancock to Jim Hall to Milton Nascimento to David Bowie. Metheny's body of work includes compositions for solo guitar, small ensembles, electric and acoustic instruments, large orchestras, and ballet pieces, with settings ranging from modern jazz to rock to classical.
Jarod Bufe: Brighter Days
by Dan McClenaghan
Making a living as jazz artist is a challenge. For every jazz megastar who can support his or herself with their music, dozens rely on day jobs and remain relative unknowns, even while making great music. Players like saxophonist Buck Hill, who did a forty-year stint working for the Post Office while releasing eleven excellent recordings--including ...
Yosef Gutman Levitt's Joy in Collaboration
by Geno Thackara
Maybe Yosef Gutman Levitt just never needs to sleep. Amidst the demands of life and family, the worldly bassist somehow consistently manages to produce three or four albums a year, largely of original material, and each distinct enough that it never seems to be coasting on a formula. It also helps to have a globe-spanning cast ...
Patrick Naylor: Organza
by Anastasia Bogomolets
Organza from Patrick Naylor, David Beebee and Eric Ford reimagines the classic guitar-organ trio. With Beebee on Hammond organ, Ford on drums and Naylor on guitar, the album includes six original compositions by Naylor and two by Beebee. These tracks showcase the strong musical chemistry between the two, who have been creating music together since their ...
Michael Brecker: Timeline
by Scott Lichtman
While the song “Timeline" is structured as a straightforward minor blues, it is nonetheless attention-grabbing and inspiring, for several reasons. First, Michael Brecker, Pat Metheny, Larry Goldings and Elvin Jones are the epitome of musicality, whether appreciated individually or as a unit. Then there is Metheny's composition: just when the listener becomes hooked on the catchy ...
Ten Terrific Sax Plus Organ Combinations
by Artur Moral
OK, maybe the electric guitar was its first and most celebrated love affair, but the organ's alliances with the saxophone's family members are undoubtedly among the richest musical combinations, both in terms of sound and the intense interrelationships that typically develop in such encounters. Whether it be a tenor with a Hammond, a soprano with an ...
Hans Luchs: The Spell is Broken
by Artur Moral
The third record by jny: NYC-based guitarist Hans Luchs arrives six years after his praiseworthy--but largely overlooked--sophomore release, Until Next Time (Self Produced, 2018). As with that album, the Chicagoan embraces the well-known motto of “less is more," distilling his guitar expertise and writing talent into less than forty minutes across eight new original compositions.
Carl Allen: Tippin'
by Dan Bilawsky
Save for a pair of co-led albums with bassist Rodney Whitaker, it's been more than two decades since master drummer Carl Allen released an album under his own name. Rectifying the situation, he delivers this high-appeal, in-the-pocket trio program with bassist Christian McBride and tenor saxophonist Chris Potter. When choosing the personnel for ...
Glebe: Gaudi
by Neil Duggan
Few jazz groups have a name as uniquely tied to their shared history as Glebe. The band's name reflects their early days living in a shared flat above a fish and chip shop on Glebe Place, where guitarist Kieran Gunter and pianist Chris Bland lived after meeting at Leeds College of Music (now Leeds Conservatoire). Since ...
Joni Mitchell Jazzed: Ten Essential Mitchell Covers
by Ian Patterson
Canadian singer-songwriter Joni Mitchell's spectacular transition from acoustic folk singer in the '60s through folk-rock 'n' roller in the early '70s to leader of jazz-inflected bands in the mid-'70s was a gradual process. This musical transformation can be traced over the course of five albums for Asylum, beginning with the multi-million seller and Grammy-winner Court and ...
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