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Michael Green
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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSat Sep 06, 2014 5:22 am

A great start to late night Friday.

Michael's System - Page 22 M475

disc #2

https://www.youtube.com/watch?v=Pkc8LjmKKMw

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Last edited by Michael Green on Sun Sep 07, 2014 12:28 am; edited 1 time in total
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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSun Sep 07, 2014 12:11 am

enjoying Johann Sebastian Bach

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Michael's System - Page 22 M477

http://en.wikipedia.org/wiki/Johann_Sebastian_Bach

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSun Sep 07, 2014 6:25 am

I was thinking tonight while listening "I bet Dick Shahinian would shake his head when I play classical" Laughing I probably play all the politically wrong recordings Rolling Eyes  

I use to love going into his room and listen to him talk classical. He would say something like,

"There was little critical response to the premiere performance, which took place under adverse conditions. The orchestra did not play well—with only one rehearsal before the concert—and at one point, following a mistake by one of the performers in the Choral Fantasy, Beethoven had to stop the music and start again. The auditorium was extremely cold and the audience was exhausted by the length of the program. However, a year and a half later, publication of the score resulted in a rapturous unsigned review."

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"Radiant beams shoot through this region's deep night, and we become aware of gigantic shadows which, rocking back and forth, close in on us and destroy everything within us except the pain of endless longing—a longing in which every pleasure that rose up in jubilant tones sinks and succumbs, and only through this pain, which, while consuming but not destroying love, hope, and joy, tries to burst our breasts with full-voiced harmonies of all the passions, we live on and are captivated beholders of the spirits.

How this wonderful composition, in a climax that climbs on and on, leads the listener imperiously forward into the spirit world of the infinite!... No doubt the whole rushes like an ingenious rhapsody past many a man, but the soul of each thoughtful listener is assuredly stirred, deeply and intimately, by a feeling that is none other than that unutterable portentous longing, and until the final chord—indeed, even in the moments that follow it—he will be powerless to step out of that wondrous spirit realm where grief and joy embrace him in the form of sound...."

December 1813, E.T.A. Hoffmann

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSun Sep 07, 2014 6:44 am

and to one of my favorites

Michael's System - Page 22 M479

of course, the Atlanta Symphony

home sweet home

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeTue Sep 09, 2014 2:37 am

At first it's like coming out of the silence. I questioned my volume control. It was almost about what wasn't as much as what was. I'll be perfectly honest, I didn't get it. I came to be entertained but I'm sitting here with bits and pieces. I look back to the reviews and there is praise and awards. "somebody here made a mistake" me or them Question Maybe I'm not able to understand. Something within the lines of classics that has gone over my head. In brief moments I feel something coming to life only to crawl back into it's quiet place. It's got to be me that is out of touch, not willing to put myself inside of the meaning. Come on MG it's Sharon Isbin for cryin out loud.

Second track starts to play and the same thing. I must be out of touch for sure. I keep listening waiting for it to happen and minute to minute nothing but pieces. I try to listen inside of them then giveup leaning back in my chair too lazy to move. That's when it happens.

Slowly without me being aware I find myself traveling as if someone packed my bags for me and put me on a train, no not a train but in an old classic convertible, that's it. Nothing but visual with the top down, me in the back seat with more room than usual and the wind noise on off. It's me, road, car and the countryside. I become keenly curious about my surroundings as the automotive is kept at 45mph with barely hills, enough to see in front and back but not enough to see over the rise to what waits ahead, and not quite remembering what was behind.  One or two trees off in a distance with some rock formations an ocational hawk flying by with red winged black birds to follow. Every 10 or so minutes the scene begins to change and I grow excited to see what is in the next patch of scapes. I breathe the air deeply into my lungs and say outloud "God it's great to be alive".

Maybe I got it after all.

Michael's System - Page 22 M482

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeTue Sep 09, 2014 2:54 am

Now that my ears are on

Michael's System - Page 22 M483

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeTue Sep 09, 2014 5:53 am

So since I took a trip earlier I might as well go a little further.

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here's a review I thought was interesting

"Middle East-meets-West fusions, heralded under a jazz banner, are nearly always scary. Scary in the sense that, instead of the musicians synthesizing their cultural traditions in a magical gestalt, the result is usually a watered-down pastiche of the kind of easy-listening exotica typically peddled by audiophile labels or stacked next to the patchouli bin at the incense shop. It's embarrassing, especially if you know how mindbending the real stuff can be. Anouar Brahem, who plays the Arabic stringed instrument called the oud, isn't scary or embarrassing. But the genre in which he participates is so suspect it takes a while to appreciate the value of his latest album. Recorded with master Brit improvisors John Surman (soprano saxophone and bass clarinet) and Dave Holland (bass), Thimar is never less than beautiful, and is often haunting in its subtle chemistry, which quietly evokes glimmers of blues moods within stately Arabic-themed progressions. Surman's soprano playing fails to fully erase thoughts of Kenny G, but Holland's exquisite touch both plucking and bowing repeatedly compels attention. The bassist lends a structural integrity to these pieces that makes it hard to dismiss them as kitsch. Still, there's something so consistently softcore about this concept that the album seems almost destined to be used as background music."
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Personally I like the mindbending easy-listening exotica, maybe more exotica than audiophile-ish many times. This team though hits a spot that I can live with easily. The Arabic meets Jazz has meat on the bones, still giving the exotic nature. If you don't already have this I would consider adding it to your collection.

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeTue Sep 09, 2014 8:23 pm

This is a great group of guys custom made to support Gary Burton's work.  You also see him hanging out with Pat Metheny and Chick Corea from time to time. I'm sure I'm not telling you guys anything new, but I think about Gary past and present and go WOW Exclamation  I love what he does with Bob James on this recording.

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Not only did he play with the cool gang from the 80's and on, but he also played with Stan Getz between 1964 and 1966, that's another remarkable point to his successful career.

Well shoot, check this out.

Beginning music at six years old, Burton for the most part taught himself to play marimba and vibraphone. He also began studying piano at age sixteen as he finished high school in Princeton, Indiana (56–60). Burton has cited jazz pianist Bill Evans as a main inspiration for his approach toward the vibraphone.

Burton attended Berklee College of Music in Boston in 1960–61. He studied with Herb Pomeroy and soon befriended the composer and arranger Michael Gibbs. After establishing his career during the 1960s, he returned to join the staff of Berklee from 1971–2004, serving first as Professor, then Dean and finally as Executive Vice President during his last decade at the college.

Early in his career, at the behest of noted Nashville saxophonist Boots Randolph,Burton moved to Nashville and recorded with several notable Nashville musicians including guitarist Hank Garland, pianist Floyd Cramer and guitarist Chet Atkins.

After touring both the U.S. and Japan with pianist George Shearing in 1963, Burton went on to play with saxophonist Stan Getz from 1964 to 1966. It was during this time with the Stan Getz Quartet that Burton appeared with the band in a feature film, "Get Yourself a College Girl", playing "Girl From Ipanema" with Astrud Gilberto. In 1967 he formed the Gary Burton Quartet along with guitarist Larry Coryell, drummer Roy Haynes, and bassist Steve Swallow. Predating the jazz-rock fusion craze of the 1970s, the group's first record, Duster, combined jazz, country and rock and roll elements. However, some of Burton's previous albums (notably Tennessee Firebird and Time Machine, both from 1966) had already shown his inclination toward such experimentation with different genres of popular music. After Coryell left the quartet in the late 1960s, Burton hired a number of well-regarded guitarists: Jerry Hahn, David Pritchard, Mick Goodrick, Pat Metheny, John Scofield, Wolfgang Muthspiel, Kurt Rosenwinkel, and most recently Julian Lage, who plays guitar in Burton's group Next Generation.

Burton was named Down Beat magazine's 'Jazzman of the Year' in 1968 (the youngest ever to receive the title) and won his first Grammy award in 1972. The following year Burton began a now 40-year-long collaboration with pianist Chick Corea, recognized for popularizing the format of jazz duet performance. Their eight recordings together won the pair Grammy awards in years 1979, 1981, 1997, 1999, 2009, and most recently in 2013, for Hot House. Burton has a total of 21 Grammy nominations and seven Grammy wins.

Burton has played with a wide variety of jazz musicians, including Carla Bley, Hank Garland, Gato Barbieri, Keith Jarrett, Chick Corea, Steve Lacy, Pat Metheny, Makoto Ozone, Tiger Okoshi, Stan Getz, Herbie Hancock, B.B. King, Tommy Smith, Eberhard Weber, Ralph Towner, Peter Erskine, Stephane Grappelli and Ástor Piazzolla.

From 2004 to 2008 Burton hosted a weekly jazz radio show on Sirius Satellite Radio. From September 2006 to April 2008, Burton toured worldwide with Chick Corea celebrating 35 years of working together. More recently Burton toured and recorded in 2009 with Pat Metheny, Steve Swallow, and Antonio Sanchez (The Gary Burton Quartet Revisited), reprising music from Burton's 1970s group.

In 2011, Burton released his first project for Mack Avenue Records, entitled Common Ground featuring the New Gary Burton Quartet (with Julian Lage, Scott Colley, and Antonio Sanchez). The group's second release, Guided Tour, was released in August, 2013. Burton's autobiography, Learning To Listen, was published by Berklee Press in August 2013. Burton's available recordings, as of 2013, are mainly those from Atlantic Records, ECM Records, GRP Records, Concord Jazz, and Mack Avenue Records.
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On my personal super easy to listen to list. Very Happy

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeTue Sep 09, 2014 11:23 pm

After 3 passes I got to tell you, it's hard to leave Gary's "cool nights". This recording hits me perfectly, maybe it's when those drums do their thing on a couple of songs. I mean all of it is great, more than great, but when those drums hit me just right, I melt. It's one of my favorite instruments to listen to as far as setting the tone of a recording.

But I have moved on cause there's also a great drum solo on "True Blue" and it's a nice time of the night to listen to some Mark Whitfield.

Michael's System - Page 22 M486

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeWed Sep 10, 2014 6:06 am

Hi Michael,

Since you are talking about drums delight. Have you got hold of Charly Antolini knock out 2000 album? You must try you will never regret it. The drumming will melt you to pieces drunken   Especially with your floating system affraid   cheers
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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeWed Sep 10, 2014 7:41 am

Hi Hiend001

They didn't have it at the store on this side of town, but I'm going to check some of the others. I've sampled it on amazon and it's absolutely on my list.

love love love drums in a great stage Exclamation

I like the funk on 2000 too.

thanks Cool


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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeWed Sep 10, 2014 8:14 am

A fantastic trio with jazz funk feeling. I've got to sleep sometime Sleep  but my jazz bone has been tickled and you guys know how I get when I'm on a listening roll. This recording has me wanting to where a headban, find a corduroy vest and slip on some bell-bottoms it's so cool.

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This recording says Groovy-funk-jazz in all the right ways for me. What Charlie does with his 8-string goes past cool. And nothing in the middle of all this is over done. Dave Ellis and Jay Lane are brilliant also.

Cool

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeFri Sep 12, 2014 5:25 am

On my playlist tonight

Michael's System - Page 22 M488

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSat Sep 13, 2014 4:44 am

Travels

That pretty much says it for me when I listen to this recording from Pat.

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here's the background on Pat

Patrick Bruce "Pat" Metheny (/məˈθiːni/ mə-THEE-nee; born August 12, 1954) is an American jazz guitarist and composer.


Biography

Metheny was born and raised in Lee's Summit, Missouri, a suburb southeast of Kansas City. At age 15, he won a Down Beat scholarship to a one-week jazz camp and was taken under the wing of guitarist Attila Zoller. Zoller also invited the young Metheny to New York City to see the likes of Jim Hall and Ron Carter. Following his graduation from Lee's Summit High School, Metheny briefly attended the University of Miami in Coral Gables, Florida in 1972, where he was quickly offered a teaching position. He then moved to Boston to take a teaching assistantship at the Berklee College of Music with jazz vibraphonist Gary Burton. He first made his name as a teenage prodigy under the wing of Burton. In 1974 he made his recording debut on two sessions for pianist Paul Bley and Carol Goss' Improvising Artists label, along with fretless electric bassist Jaco Pastorius.

Metheny entered the wider jazz scene in 1975 when he joined Burton's band, where he played alongside resident jazz guitarist Mick Goodrick. Goodrick was a 1967 alumnus of Berklee, who had held a teaching post there in the early 1970s. The two guitarists were interviewed jointly by Guitar Player Magazine in 1975, bringing them to the attention of fellow guitar aficionados around the world. Metheny's musical momentum carried him rapidly to the point that he had soon written enough material to record his debut album, Bright Size Life, with Pastorius and drummer Bob Moses.

Metheny's next recording, 1977's Watercolors, was the first to feature pianist Lyle Mays, Metheny's most frequent collaborator. The other musicians on this session were Eberhard Weber on upright bass and Danny Gottlieb on drums. Metheny's next album formalized his partnership with Mays and began the Pat Metheny Group, featuring several songs they co-wrote; the album was released as the eponymous Pat Metheny Group on West German musician/producer Manfred Eicher's ECM record label. Metheny also has released solo, trio, quartet and duet recordings with musicians such as Hall, Dave Holland, Roy Haynes, Toninho Horta, Burton, Chick Corea, Pedro Aznar, Pastorius, Charlie Haden, John Scofield, Jack DeJohnette, Herbie Hancock, Bill Stewart, Ornette Coleman, Brad Mehldau, Joni Mitchell, Milton Nascimento, Santana, Dominic Miller, Michael Brecker, Trilok Gurtu and many others.

Metheny has also joined projects such as Song X with Coleman; Parallel Realities, with Jack DeJohnette; Jazz Baltica with Ulf Wakenius and other Nordic jazz players like E.S.T. and Nils Landgren; and he has played with singers from all over the world, such as Silje Nergaard on Tell Me Where You're Going (1990), Bruce Hornsby on Harbor Lights (1993) and Hot House (1995), Noa on Noa (1994), Abbey Lincoln on A Turtle's Dream (1994) and Anna Maria Jopek on Upojenie (2002).

Metheny has been touring for more than 30 years, playing between 120 and 240 concerts a year.

Pat Metheny Group

The Pat Metheny Group is a band founded in 1977. The first Pat Metheny Group release, 1978's Pat Metheny Group, featured the writing duo of Metheny and Mays, a collaboration which has spanned over 25 years and 15 albums. The recording featured the electric bass playing of Pastorius's protégé, Mark Egan. The second group album, American Garage (1980), was a breakout hit, reaching number 1 on the Billboard Jazz chart and crossing over onto the pop charts as well, largely on the strength of the up-tempo opening track "(Cross the) Heartland", which became a signature tune for the group. This early incarnation of the group included Dan Gottlieb on drums.

The group built upon its success through constant touring across the USA and Europe. The early group featured a unique sound, particularly due to Metheny's Gibson ES-175 guitar coupled to two Eventide Clockworks' Harmonizer digital delay units and Mays' Oberheim and Sequential Circuits Prophet 5 synthesizers and Steinway piano. Even in this early state the band played in a wide range of styles from folk to rock to experimental. Metheny later started working with the Roland GR-300 guitar synthesizer and the Synclavier guitar system made by New England Digital. Mays expanded his setup with the Synclavier keyboard and later with various other synthesizers.

From 1982 to 1985 the Pat Metheny Group released Offramp (1982); a live set, Travels (1983); and First Circle (1984); as well as The Falcon and the Snowman (1985), a soundtrack album for the movie of the same name in which they collaborated with David Bowie. A single from the soundtrack, "This Is Not America", reached number 14 in the British Top 40 in early 1985 as well as number 32 in the USA.

Offramp marked the first appearance of bassist Steve Rodby (replacing Egan) and Brazilian "guest artist" Nana Vasconcelos, whose work on percussion and wordless vocals marked the first addition of Latin music shadings to the Group's sound, a trend which continued and intensified on First Circle with the addition of Argentinian multi-instrumentalist Aznar, which also marked the group debut of drummer Paul Wertico (replacing Gottlieb) – both Rodby and Wertico were members of the Fred Simon Group at the time, and had played in Simon-Bard as well, in Chicago, before joining Metheny.

This period became a peak of commercial popularity of the band, especially for the live recording Travels. First Circle would also be Metheny's last project with ECM Records; he had been a key artist for ECM, but left following conceptual disagreements with label founder Manfred Eicher. The next Pat Metheny Group releases would be based around a further intensification of the Brazilian rhythms first heard in the early 1980s. Additional Latin musicians appeared as guests, notably Brazilian percussion player Armando Marçal. Still Life (1987) was the Group's first release on new label Geffen Records, and featured several popular tracks, followed by Letter from Home (1989), which also featured Aznar and Marçal. During this period The Steppenwolf Theater Company of Chicago featured an assortment of compositions by Metheny and Mays for their production of Lyle Kessler's play Orphans, where it has remained special optional music for all productions of the play around the world since.

Metheny then again delved into adventurous solo and band projects, and four years went by before the release of the next record for the next Pat Metheny Group, a live set entitled The Road to You, which featured tracks from the two Geffen studio albums amongst new tunes. The group integrated new instrumentation and technologies into its work, notably Mays' unique playing technique accomplished by adding midi-controlled synth sounds at command during acoustic solos via a pedal on the piano.

Mays and Metheny themselves refer to the following three Pat Metheny Group releases as the triptych: We Live Here (1995), Quartet (1996), and Imaginary Day (1997). Moving away from the Latin style which had dominated the releases of the previous 10 years, these albums were the most wide-ranging and least commercial Group releases, including experimentations with sequenced synthetic drums on one track, free-form improvisation on acoustic instruments, and symphonic signatures, blues and sonata schemes.

After another hiatus, the Pat Metheny Group re-emerged in 2002 with the release of Speaking of Now, another change in direction adding musicians to the band who were a generation younger and thus grew up with the Pat Metheny Group. The new members were drummer Antonio Sanchez from Mexico City, trumpet player Cuong Vu, and bassist, vocalist, guitarist, and percussionist Richard Bona from Cameroon.

Released, 2005's The Way Up, is another large concept record which consists of one 68-minute-long piece (although split into four sections solely for CD navigation), a tightly organized but not through-composed piece based on a pair of three-note kernels: The opening B, A#, F# and the derived B, A, F#. The reception of The Way Up was consistent, with standing ovations in each of the almost 90 concerts during the world tour of 2005. On The Way Up, harmonica player Grégoire Maret from Switzerland was introduced as a new group member, while Bona contributed only as a guest musician.

During the world tour Brazilian multi-instrumentalist Nando Lauria completed the line-up of the Pat Metheny Group. The Way Up was released through Nonesuch Records and all of Metheny's Geffen and Warner Brothers back catalogue is to be released on the label. Core members of the group are Metheny, Mays, and Steve Rodby (double and electric bass), who joined in 1980. Drummer Paul Wertico replaced Gottlieb in 1983 and continued to play with the group for more than 18 years, until he was replaced by Sanchez, currently also a member of The Pat Metheny Trio.

The current Pat Metheny Group members are Metheny, Mays, Rodby, Sanchez, and Vu. Other musicians that have been hired regularly for Metheny Group tours are: Mark Ledford (vocals, trumpet, guitar); David Blamires (vocals, miscellaneous instruments); Marçal (percussion); Aznar (vocals, guitar, percussion); and Bona (vocals, guitar, bass, and percussion). On the most recent tour to promote the record The Way Up, Grégoire Maret (harmonica, percussion, vocals) and Lauria (guitar, percussion, vocals) joined the Group. Pat Metheny has collected 19 Grammy Awards, and of them, as part of The Pat Metheny Group, 10 of those awards were consecutive.

Pat Metheny and his guitar.

Continuing the tradition of jazz guitarists borrowing tones and techniques from their rock counterparts, Metheny has made alterations to the jazz guitar tone palette.

Twelve-string electric

Prior to Metheny, Pat Martino had used the electric twelve-string guitar on a studio album, Desperado, and John McLaughlin had used a double-neck electric guitar with the Mahavishnu Orchestra. (Lenny Breau had introduced the acoustic twelve-string to jazz.) Metheny introduced alternative 12-string tunings to jazz; these can be heard on tunes such as "Sirabhorn" (from Bright Size Life) and San Lorenzo (from Pat Metheny Group and Travels).

Six-string electric

Metheny's tone, which has evolved over the years, involves using the natural full-frequency response of his hollow-body guitar, combined with high-midrange settings on his amplifier to create a smooth, sustaining lead sound that is virtually devoid of piercing treble yet is able to cut through a dense mix. By using digital signal processing that involves digital delay/chorus and reverb, he has created a big, rich, and resonant instrumental voice.

Guitar synthesizer

Metheny was also one of the first jazz guitarists to make heavy use of the Roland GR-300 Guitar Synthesizer. While John Abercrombie and Bill Frisell also used Roland guitar synthesizers heavily in the 1980s, Metheny is the only one of the three who still uses the instrument regularly. Unlike many guitar synthesizer users, Metheny limits himself to a very small number of sounds. In interviews, he has argued that each of the timbres achievable through guitar synthesis should be treated as a separate instrument, and that he has tried to master each of these "instruments" instead of using the synthesizer for incidental color. One of the "patches" that he has often used is on Roland's JV-80 "Vintage Synth" expansion card, entitled titled "Pat's GR-300". Metheny was also heavily into the Synclavier Digital Audio Workstation made by New England Digital and brought it out on tour starting in the early 1980s.


Pikasso guitar

Metheny plays a custom-made Pikasso I created by Canadian luthier Linda Manzer on "Into the Dream" and on the albums Quartet, Imaginary Day, Jim Hall & Pat Metheny, Trio→Live, and the Speaking of Now Live and Imaginary Day DVDs. Metheny has also used the guitar in his guest appearances on other artists' albums.

Manzer has also made many acoustic guitars for Metheny, including a mini guitar, an acoustic sitar guitar, and the baritone guitar, which Metheny used for the recording of One Quiet Night. His latest use of the Pikasso is found on the album Metheny Mehldau Quartet, his second collaboration with pianist Mehldau and his trio sidemen Larry Grenadier and Jeff Ballard; the Pikasso is featured in Metheny's impressionistic composition "The Sound of Water". Pat uses D'Addario Chrome Strings as well as their Acoustic Strings on his instruments.

Influences

As a young musician, Metheny did everything he could to sound like Wes Montgomery, but when he was 14 or 15, he decided that he felt that it was disrespectful to imitate him. In the liner notes on the 2-disc Montgomery compilation Impressions: The Verve Jazz Sides, Metheny is quoted as saying, "Smokin' at the Half Note is the absolute greatest jazz-guitar album ever made. It is also the record that taught me how to play."

The angular compositions, asymmetrical lines, relentless rhythmic drive, and deep blues feeling of Coleman's New York Is Now! inspired Metheny to find his own direction. 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.

Metheny's playing (as well as his tone) also show significant influence by Hall, Joe Diorio, Kenny Burrell, Joe Pass, McLaughlin and other classic jazz players.[citation needed] 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 stated that Miles Davis' live album Four & More was hugely influential on his pursuit into jazz music. He has also admitted to being heavily influenced by the Beatles, going so far as to say that everything by the Beatles has impacted him as a musician. He has paid significant attention to the evolution of guitar playing across genres, and is familiar with the playing of notables from the likes of rock guitarists Eddie Van Halen to 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 made 3 albums on ECM with the Brazilian vocalist and percussionist Naná Vasconcelos in the early 1980s. He also lived in Brazil from the late 1980s to the early 1990s and performed with several local musicians such as Milton Nascimento and Toninho Horta. He also played with Antonio Carlos Jobim as a tribute, in a live performance in Carnegie Hall Salutes The Jazz Masters: Verve 50th Anniversary.

He is also a fan of several pop music artists, especially singer/songwriters including James Taylor (after whom he named the song "James" on Offramp); Bruce Hornsby, Cheap Trick, and Joni Mitchell, with whom he performed on her Shadows and Light (1980, Asylum/ Elektra) live tour. Metheny is also fond of Buckethead's music. He also worked with, sponsored or helped to make recordings of singer/songwriters from all over the world, such as Pedro Aznar (Argentina), Akiko Yano (Japan), David Bowie (UK), Silje Nergaard (Norway), Noa (Israel), and Anna Maria Jopek (Poland).

Two of Metheny's recordings, The Way Up and Orchestrion, evidence the influence of American minimalist composer Steve Reich and utilize similar rhythmic figures structured around pulse. Reich's composition Electric Counterpoint was first recorded by Metheny and appears on the Different Trains CD released by Nonesuch Records in 1987.

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSun Sep 14, 2014 12:10 am

Wow, sorry the info on Pat got so long winded Laughing

I didn't realize how long it was till I scrolled study Oh well maybe he will pay me something for the ad Smile

One of my favorite male jazz vocalist is maybe someone you would not have placed necessarilly in the jazz vocalist category. but if you listen to this next Cd this may change for you.

Michael's System - Page 22 M490

I see Michael Franks voice as being a must in my music collection. I think I have played "the art of making tea" more then just a few hundred times. "barefoot on the beach" is more than a light harted romantic adventure. It has a "stage" that paints Michael's voice perfectly. If you want a recording that you can sense the singer enjoying his time infront of the mic this is one to do it with. Michael defines smooth and some of his recordings go beyond good, "barefoot on the beach" is one of them.

A lot of times I tell you guys what I happen to be listening to, and sometimes you may wonder, is he telling us because he is recommending or giving us a path through his daily music journey to follow if we want? it's mostly showing you my path, but when I hear something like "barefoot on the beach" I feel like cheers hello get this one Exclamation This is definitly Hello, get this one.

Wink

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeThu Sep 18, 2014 3:16 pm

My listening so far this week

Michael's System - Page 22 M491

Let me jump right in on "touch". I can't remember when I first got this but it was back in my earlier table days, or should I say serious Table days. This recording for me was a transition from 50's and 60's jazz to the jazz/funk mod era. Still my favorite Klemmer recording although he's got some greats. I can remember hanging out with my rock guys saying check out this guy, but they had all beat me to the punch "where have you been". Oh well, guess I was slow. Through the years you know how you look through peoples collections, well with the "hip" people somehow I would always run across "touch" in there somewhere. I guess that says a lot.

If you don't have this, get it, if you do you can say "I told you so", everyone else has Smile

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSat Sep 20, 2014 10:43 am

Women's jazz voices. Right away I have the attention of everyone study .

I love hearing the shape and tonal movement that a good woman jazz singing can do. Sending it down into here chest and different parts of the throat and the way they can use the tonal structure of her face. Dee Dee does this extremely well and I'm glued to her slower songs like a dentist, and her faster songs well simply on for the ride.

Michael's System - Page 22 M492


one of the greats Exclamation

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSun Sep 21, 2014 2:32 am

Jacky Terrasson is not just great, but knows how to surround the jazz singer with a flavor and attitude that suits them best. Here's a good example of this with Cassandra Wilson.

Michael's System - Page 22 M493

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSun Sep 21, 2014 12:25 pm

Michael Green wrote:
Women's jazz voices. Right away I have the attention of everyone study .

I love hearing the shape and tonal movement that a good woman jazz singing can do. Sending it down into here chest and different parts of the throat and the way they can use the tonal structure of her face. Dee Dee does this extremely well and I'm glued to her slower songs like a dentist, and her faster songs well simply on for the ride.

Michael's System - Page 22 M492


one of the greats Exclamation

Agreed. Female vocals whether JAZZ or other done right always grab my focus.

Eva Cassidy
Madeleine Peyroux
Melody Gardot
Emmylou Harris
Aimee Mann
Holly Cole
Pat Barber
Shelby Lynne

Just to name a few are some that demand my attention and hold it.

.
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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSun Sep 21, 2014 5:06 pm

Hi Tim

Great list!

And if I can also add, female voices tell us a lot about our systems. They have a very unique tonal quality if I may call them an instrument. A range similar to many instruments yet a completely different set of textures. A great topic all on it's own.


Cool

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSun Sep 21, 2014 6:53 pm

I was a little shocked switching soundstages just now. So fun to get use to one stage and then putting on another recording style and pow, a completely different style of stage.

A more produced stage but one that went front to back immediately

Michael's System - Page 22 M494

makes me wonder why some audiophiles have a hard time with stages. I think it would drive me crazy if I was not thrown in the room with the recording.

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeSun Sep 21, 2014 10:05 pm

Michael Green wrote:
Hi Tim

Great list!

And if I can also add, female voices tell us a lot about our systems. They have a very unique tonal quality if I may call them an instrument. A range similar to many instruments yet a completely different set of textures. A great topic all on it's own.


Cool

Different textures for sure but if I may be so bold as to mention how many octaves the human voice encompasses. Tells me a lot about a system or component or room.

Having had an exwife, I can tell the mood and state of mind Aimee Mann is in by the sibilance, dynamic range and pitch of her larynx. lol

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeMon Sep 22, 2014 7:01 pm

i've moved on to another smooth groove

Michael's System - Page 22 M496

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeThu Sep 25, 2014 1:01 am

What a week so far Cool

Harold arrives tomorrow and that means "playtime" I can hardly wait to inspect the new product and get caught up on orders.

We're just about the share some exciting things but as you know I keep some of the experiments under wraps until I do enough testing. But they start with a S and ends with a S. I said they so that means more than one. I know I'm too easy Laughing

I saw the heat treated speakers the other day and was pretty amazed. I'm not saying they will be ready soon but seeing and tapping on them was a lot of fun. It worked pretty well on the brazilian pine. What I do is my usual dry cure, but at the end, we have the wood heated (burnt), which sucks the rest of the moisture to the surface. The look I have to say is like no other speakers I have ever seen. Well see if we can take some rough pics.

Smile

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PostSubject: Re: Michael's System   Michael's System - Page 22 Icon_minitimeFri Sep 26, 2014 10:49 pm

Somebody is inspired king "people get ready" the Blind Boys of Alabama have arrived.

Michael's System - Page 22 M498

If you do not know them, if you do not have them, it is very possible you are heading toward the lake of fire, but I have a cure. Pick up "higher ground" and find salvation Exclamation  This recording has me dancing in the halls. What a blend of songs, and what a blend of voices. I did not know, or I overlooked the Blind Boys before today. Talk about being blind, how have I lived this long without this recording being in my collection. Is this my find of the year? Right up there for sure.

Harold was looking through the recent collection I had sent to me, saw this and said "with a name like that, these guys have got to be good". After the first minute we were looking at each other going holy smokes, I made it to the chair first Smile

Cool

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