Jim Hall & Pat Metheny
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- Released: March 16, 2015
- Originally Released: 2011
- Label: Nonesuch
Entertainment Weekly - 4/30/99, p.97"...You get more than your money's worth with the friendly, clean-toned, and adventurous sprawl of 17 tracks--reconsidered standards, lovely originals, and a few improv snippets." - Rating: A-
Q - 7/99, pp.116-83 stars (out of 5) - "...[Pat Metheny] demonstrates an uncanny ability to predict the direction of an unpredictable improviser and complement it exquisitely....[the album] is all subtle and attractive stuff."
CMJ - 5/17/99, p.28"...its rare intimacy and beauty should help smash preconceptions of jazz as a difficult-to-understand or academic artform. Hall and Metheny's music is straight from the heart."
- 1.Lookin' Up
- 2.All the Things You Are
- 3.The Birds and the Bees
- 4.Improvisation No. 1
- 5.Falling Grace
- 6.Ballad Z
- 8.Farmer's Trust
- 9.Cold Spring
- 10.Improvisation No. 2
- 11.Into the Dream
- 12.Don't Forget
- 13.Improvisation No. 3
- 14.Waiting to Dance
- 15.Improvisation No. 4
- 16.Improvisation No. 5
- 17.All Across the City
Personnel: Jim Hall (electric guitar); Pat Metheny (acoustic, electric, fretless classical & 12-string guitars).
Producers: Gil Goldstein, Steve Rodby, Pat Metheny.
Recorded at Right Track Studios, New York, New York on July 30 & 31, 1998 and live at Manchester Craftsmen's Guild, Pittsburgh, Pennsylvania on August 1 & 2, 1998.
Personnel: Jim Hall (electric guitar); Pat Metheny (acoustic guitar, electric guitar, classical guitar).
Audio Mixer: Jay Newland.
Recording information: Manchester Craftsmen's Guild, Pittsburgh, PA (07/30/1998/07/31/1998); Right Track Studios, New York, NY (07/30/1998/07/31/1998); Manchester Craftsmen's Guild, Pittsburgh, PA (08/01/1998/08/??/1998B); Right Track Studios, New York, NY (08/01/1998/08/??/1998B).
Photographer: Deborah Feingold.
Arrangers: Jim Hall; Pat Metheny.
Jim Hall was one of the pioneers in post-bop jazz guitar, moving the tradition far beyond the approach of people like Wes Montgomery and Kenny Burrell, into a more complexly textured, almost impressionistic approach. He influenced the way the next generation of jazz guitarists, like Bill Frisell and others, approached the instrument. One of those who felt Hall's influence is fusion star Pat Metheny, who took the elder guitarist's advances and built on them. This recording is a summit meeting between these two jazz guitar innovators. Pared down to the essentials, it's just Metheny and Hall, supporting and reacting to one another with grace and personality. The tunes are mostly originals that display the delicate touch and thoughtful improvisational abilities of both men. Far from a showdown, it's a collaboration in which each amplifies and enhances the other's sonic statements, and that's the best possible result from a project of this nature.
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