Keith Jarrett/Gary Peacock/Jack DeJohnette - Tokyo '96

Este maravilloso concierto del Standards Trio fue grabado en Tokio en 1996 y editado dos años más tarde durante la convalescencia de Jarrett afectado de un síndrome de fatiga crónica. Las baladas como Summer Night y la hermosa My Funny Valentine/Song están interpretadas con enorme calidez y en ellas se destaca el lirismo de Peacock. Los clásicos be-bop, Billy's Bounce de Charlie Parker y John's Abbey de Bud Powell, tocados en up-tempo, tienen un swing terrible; mientras que I'll Remember April y Caribbean Sky, con todo el sabor latino, e impulsadas por el oficio de DeJohnette, lucen llenas de color y energía. (ECM, 1998).

Tracks:
1.It Could Happen To You 11:38
2.Never Let Me Go 7:02
3.Billie's Bounce 8:07
4.Summer Night 7:37
5.I'll Remember April 10:20
6.Mona Lisa 3:16
7.Autumn Leaves 7:58
8.Last Night When We Were Young/Caribbean Sky 9:55
9.John's Abbey 5:50
10.My Funny Valentine/Song 7:16

Personnel:
Keith Jarrett: Piano
Gary Peacock: Bass
Jack DeJohnette: Drums



Recorded live March 30, 1996 at Orchard Hall, Tokyo.

King Crimson - THRaKaTTaK

THRaKaTTaK es una improvisación libre de una duración de una hora, grabada en diferentes conciertos en vivo durante 1995, que comienza y concluye con una breve versión de THRaK, el tema que da nombre al álbum del mismo año. Lo que me atrae es que se trata de avant-rock, es decir de una improvisación no esencialmente jazzística. El resultado encuentra al doble-trio que diera vida a King Crimson a mitad de los noventa forzando los límites autoimpuestos por el género rock, entregando una música innovativa, experimental, con una gama de timbres y sonidos no usuales. (Discipline Global Mobile, 1996).

Tracks:
1.THRAK (2:20)
2.Fearless and Highly THRaKked (6:35)
3.Mother Hold the Candle Steady While I Shave the Chicken's Lip (11:18)
4.THRaKaTTak Part I (3:42)
5.The Slaughter of the Innocents (8:03)
6.The Night Wounds Time (11:16)
7.THRaKaTTaK Part II (11:08)
8.THRAK reprise (2:52)

Personnel:
Robert Fripp: guitar, soundscapes
Adrian Belew: guitar
Trey Gunn: Warr guitar
Tony Levin: NS electric upright bass
Pat Mastelotto: acoustic & electronic percussions
Bill Bruford: acoustic & electronic percussions and marimba

WARNING!!!
THIS RECORDING CONTAINS EXPLICIT LIVE INSTRUMENTAL IMPROVISATION.

These recordings are taken from DAT recordings of the front-of-house mixing desk during the KC tour of Japan and the USA during October and November 1995.

King Crimson - B'Boom Official Bootleg Live In Argentina

B'Boom está grabado en Argentina durante la gira de presentación del disco Thrak (Virgin, 1995) y conserva las bondades de lo que uno espera de un registro en vivo: energía, frescura, ser fiel a lo ocurrido en el escenario, algo no siempre presente en las ediciones de Robert Fripp, las que usualmente pecan de ciertos retoques. El sonido es excelente, claro, cristalino. La formación es la misma del nombrado álbum y consiste en el doble trio con el que regresara en inmejorable forma en los noventa luego de diez años. Los temas incluidos son para todos los gustos: algunos pertenecientes a Thrak (VROOOM, One Time, People), otros al Crimson de los ochenta (Frame By Frame, Matte Kudasai, Indiscipline) y, por supuesto, clásicos de los setenta (Red, Lark's Tongues In Aspic Part II). (Discipline Global Mobile, 1995).

Disc 1:
1.VROOOM 7:06
2.Frame by Frame 5:24
3.Sex, Sleep, Eat, Drink, Dream 4:48
4.Red 6:08
5.One Time 5:35
6.B'Boom 6:48
7.THRAK 6:28
8.Improv - Two Sticks 1:25
9.Elephant Talk 4:25
10.Indiscipline 7:20

Disc 2:
1.VROOOM VROOOM 6:18
2.Matte Kudasai 3:36
3.The Talking Drum 5:44
4.Lark's Tongues in Aspic Part II 7:31
5.Heartbeat 3:51
6.Sleepless 6:05
7.People 5:22
8.B'Boom (reprise) 4:16
9.THRAK 5:33

Personnel:
Robert Fripp: guitar, soundscapes, mellotron
Adrian Belew: guitar, voice, words
Bill Bruford: acoustic & electric percussions
Tony Levin: upright & electric basses, backing vocals
Trey Gunn: stick, backing vocals
Pat Mastelotto: acoustic & electric percussions

Joshua Redman Quartet - Passage Of Time

Passage Of Time comienza con un soliloquio de saxo tenor en el que Joshua Redman combina notas graves con otras muy agudas, alternando secuencias a gran velocidad y creando un muy lindo efecto. De este mismo modo dió inicio a su presentación en Buenos Aires en 2001 en el Teatro Gran Rex, donde exhibió su maravillosa técnica y el valor agregado de tocar un sólo standard (The Shadow Of Your Smile de Johnny Mandel). En este sentido, algo que me atrae mucho de este CD es que está concebido como una sesión de improvisación, donde sus temas se encuentran unidos, y existe una gran interacción grupal (la banda es la misma del concierto) que trabaja las líneas melódicas ejecutadas por el saxofonista como si las deconstruyeran, variando los climas aún dentro de una misma composición, con participaciones solistas que funcionan como preludios o interludios a la mayor tensión que produce el conjunto a pleno, casi como si se tratase de una suite, todo lo cual aporta frescura y espontaneidad, de lo que carecen muchas otras entregas en particular en músicos que, como Joshua, suelen ceñirse mayormente a la tradición jazzística. (Warner Bros., 2001).

Passage Of Time opens with a sax soliloquy in which Joshua Redman combined bass notes with other very sharp, alternating sequences at high speed and creating a nice effect. In this way began his presentation in Buenos Aires in 2001 at the Gran Rex Theater, where he showed his wonderful technique and the added value of playing only one standard (The Shadow Of Your Smile by Johnny Mandel). In this sense, something that attracts me much is that this CD is conceived as an improvisation session, where the songs are united, and there is a great interaction group (the band is the same as the concert) that works the melodic lines played by the saxophonist as if them deconstructed, varying climates still within a same composition, with participation soloists that seem preludes or interludes to the increased tension that produces the full set, almost like a suite, which brings freshness and spontaneity, what they lack many other deliveries in particular in musicians, like Joshua, who follow mostly jazzistical tradition. (Warner Bros., 2001).

Tracks:
1.Before 1:50
2.Free Speech, Phase I - Declaration 7:05
3.Free Speech, Phase II - Discussion 4:29
4.Our Minuet 8:28
5.Bronze 8:27
6.Time 10:38
7.Enemies Within 9:23
8.After 3:44

Personnel:
Joshua Redman: tenor saxophone
Aaron Goldberg: piano
Reuben Rogers: bass
Gregory Hutchinson: drums

Recorded at Avatar Studios, New York City: June 2000.

Joshua Redman Quartet - MoodSwing

Moodswing es el tercer disco del saxofonista Joshua Redman y el primero en el cual todas las composiciones son propias. Dueño de una técnica prodigiosa y un sonido muy limpio y claro interpreta en este album una amplia variedad de estilos como el blues (Sweet Sorrow), la bossa-nova (Alone In The Morning) y el funk (Headin' Home). Los músicos que lo acompañan son de los más destacados de su generación: el por ese entonces ignoto Brad Mehldau en piano (probablemente el más importante entre todos los que surgieron en la década pasada en términos de reconocimiento); Christian McBride en contrabajo (hoy Pat Metheny Trio) y Brian Blade en batería (Wayne Shorter Quartet). (Warner Bros., 1994).

Moodswing is the third album of the saxophonist Joshua Redman and the first in which all the compositions are own. Owner of a prodigious technique and very clean and clear sound played in this album a variety of styles as the blues (Sweet Sorrow), the bossa-nova (Alone In The Morning) and the funk (Headin' Home). The musicians who accompany him are the highlights of his generation: by that then unknown Brad Mehldau on piano (probably the most important among all those who emerged in the last decade in terms of recognition), Christian McBride on double bass (Pat Metheny Trio today) and Brian Blade in drums (Wayne Shorter Quartet). (Warner Bros., 1994).

Tracks:
1.Sweet Sorrow 8:43
2.Chill 7:41
3.Rejoice 11:12
4.Faith 4:30
5.Alone in the Morning 5:04
6.Mischief 5:47
7.Dialogue 5:45
8.The Oneness of Two (In Three) 5:08
9.Past in the Present 4:53
10.Obsession 6:50
11.Headin'Home 4:07

Personnel:
Joshua Redman: saxophone
Brad Mehldau: piano
Christian McBride: bass
Brian Blade: drums

DeJohnette/Metheny/Hancock/Holland - Parallel Realities live...

Me gustan las ediciones no oficiales de JazzDoor porque capturan lo que ocurre sobre un escenario sin maquillaje. En esta ocasión, se trata de un concierto que reune a un verdadero seleccionado de históricos con motivo de la presentación del disco Parallel Realities (MCA, 1990) del gran baterista Jack DeJohnette. Lo acompañan Pat Metheny, Herbie Hancock y Dave Holland, quienes además aportan sus propios temas, en un álbum imperdible para sus fans. (JazzDoor, 1990).

I like unofficial JazzDoor editions because captured what is happening on stage without makeup. On this occasion, it is a concert that brings together to a true one selected of historical for the presentation of the disc Parallel Realities (MCA, 1990) of the great drummer Jack DeJohnette. He is accompanied by Pat Metheny, Herbie Hancock and Dave Holland, who also contribute their own songs, in a must for fans. (JazzDoor, 1990).

Disc One:
1.Shadow Dance Dave Holland 15.30
2.Indigo Dreamscapes Jack DeJohnette 7.03
3.9 Over Reggae Jack DeJohnette/Pat Metheny 7.35
4.Solar Miles Davis 13.09
5.Silver Hollow Jack DeJohnette 8.25

Disc Two:
1.The Good Life Ornette Coleman 6.08
2.Blue Jack DeJohnette 7.02
3.Eye Of The Hurricane Herbie Hancock 15.30
4.The Bat Pat Metheny 8.25
5.Cantaloupe Island Herbie Hancock 9.42

Personnel:
Jack DeJohnette (drums)
Pat Metheny (guitars)
Dave Holland (bass)
Herbie Hancock (keyboards)

Recorded live at the Mellon Jazz Festival, June 23, 1990, Philadelphia, PA.

Miles Davis - Bitches Brew (Columbia/Legacy, 1999)

Tantas referencias a este disco en Jazz en la Web me llevaron a incluirlo. Bitches Brew es considerado por algunos el álbum más revolucionario de la historia del jazz. Da forma a todo un estilo: el jazz-rock o jazz-fusion, que dominará, al menos, los siguientes tres lustros. Para otros, es el último gran disco de Miles Davis. Finalmente, hay quienes opinan que ésto no es jazz. Lo cierto es que Bitches Brew, del mismo modo que toda la música de Miles, siempre innovadora, controversial, nunca pasará desapercibido. (Columbia, 1970).

Many references to this record in Jazz en la Web led me to include it. Bitches Brew is considered by some the most revolutionary album in jazz history. Shape a style: jazz-rock or jazz-fusion, which will dominate at least the next three lustrums. For others, it is the last great album of Miles Davis. Finally, there are those who believe that this is not jazz. The certain thing is that Bitches Brew, the same way as all the music of Miles, always innovative, controversial, never go unnoticed. (Columbia, 1970).

Disc One:
1.Pharaoh's Dance 20:06
2.Bitches Brew 26:58

Disc Two:
1.Spanish Key 17:32
2.John McLaughlin 4:22
3.Miles Runs the Voodoo Down 14:01
4.Sanctuary 10:56
5.Feio* 11:49

*Bonus track not on original LP.

Collective personnel:
Miles Davis: trumpet
Wayne Shorter: soprano saxophone
Bennie Maupin: bass clarinet
Joe Zawinul: electric piano
Larry Young: electric piano
Chick Corea: electric piano
John McLaughlin: guitar
Dave Holland: bass
Harvey Brooks: electric bass
Lenny White: drums
Jack DeJohnette: drums
Don Alias: drums, congas,
Jumma Santos (Jim Riley): shaker, congas

Original recordings produced by Teo Macero.

Fishbone - The Reality Of My Surroundings

The Reality Of My Sorroundings es una maravillosa mixtura de hard rock (Fight The Youth, Behaviour Control Technician, Sunless Saturday), punk (Pressure), ska (Housework), reggae (Prayer To The Junkiemaker), soul (Everday Sunshine) funk (Nazz-tee May'en) y más, conformando un compedio de la música negra norteamericana. La banda de Angelo Moore es vibrante, divertida y llena de energía y en este disco alcanza su mejor forma. (Columbia, 1991).

The Reality Of My Sorroundings is a marvelous mixture of hard rock (Fight The Youth, Behaviour Control Technician, Sunless Saturday), punk (Pressure), ska (Housework), reggae (Prayer To The Junkiemaker), soul (Everday Sunshine) funk (Nazz-tee May' in) and more, conforming a compendium of North American black music. The band of Angelo Moore is vibrant, funny and full of energy and in this album reaches its better form. (Columbia, 1991).

Tracks:
1.Fight The Youth 5:01
2.If I Were A...I'd (Live) 0:53
3.So Many Millions 5:49
4.Asswhippin' 0:39
5.Housework 4:45
6.Deathmarch 0:33
7.Behavior Control Technician 3:08
8.If I Were A...I'd (Live) 0:29
9.Pressure 4:47
10.Junkies Prayer 3:00
11.Pray To The Junkiemaker 4:02
12.Everyday Sunshine 4:58
13.If I Were A...I'd (Live) 0:29
14.Naz-Tee May'en 4:57
15.Babyhead 5:31
16.If I Were A...I'd (Live) 0:53
17.Those Days Are Gone 5:24
18.Sunless Saturday 4:19

Personnel:
Angelo Moore (Vocals, Sax)
Chris Dowd (Vocals, Trombone, Keyboards)
Walter A. Kibby II (Vocals, Trumpet)
Kendall Jones (Lead Guitar, Vocals)
John Bigham (Guitar)
Phil "Fish" Fisher (Drums)
John Norwood Fisher (Bass, Vocals)

Recorded November 1990 - January 1991 at Ocean Way Recording in Hollywood, California.

Living Colour - Biscuits (Japanese Edition)

Esta es la edición japonesa del EP Biscuits, que extiende a quince los temas incluidos, agregando nueve, de los cuales ocho son en vivo y uno es una nueva mezcla que no hace honor a la original perteneciente a Time's Up de Love Rears It's Ugly Head. Entre los integrantes se encuentra el primer bajista Muzz Skillings a quien prefiero por sobre el actual, Doug Wimbish. Los temas en vivo suenan crudos y poderosos. No había banda como Living Colour a principios de los noventa. (Epic, 1991).

This is the Japanese edition of the EP Biscuits, that extends to fifteen the tracks including, adding nine, of which eight are live and one, it is a remix that does not make honor to the original version from Time' s Up, of Love Rears It' s Ugly Head. Between the members is the first bassist Muzz Skillings who prefer by over the current, Doug Wimbish. The live songs sound crude and powerful. There was no band like Living Colour at the beginning of the nineties. (Epic, 1991).

Tracks:
1.Talkin' Loud And Sayin' Nothing J. Brown/B. Byrd (4:02)
2.Burning Of The Midnight Lamp J. Hendrix (5:29)
3.Money Talks V. Reid (5:00)
4.Love And Happiness A. Green/M. Hodges (5:08)
5.Should I Stay Or Should I Go M. Jones/J. Mellor/J. Headon/P. Simonon (2:27)
6.Love Rears Its Ugly Head (Soulpower US Mix) V. Reid (6:13)
7.Desperate People (Live) V. Reid/W. Calhoun/C. Glover/M. Skillings (5:34)
8.Final Solution (Live) T. Herman/S. Krauss/D. Thomas/T. Malmone/A. Ravenstine (5:31)
9.Middle Man (Live) V. Reid/C. Glover (3:43)
10.Memories Can't Wait (Live) D. Byrne/J. Harrison (5:09)
11.Information Overload (Live) V. Reid (6:45)
12.The Ocean (Live) J. Page/R.Plant/J. P. Jones/J. Bonham (1:45)
13.Sailin' On (Live) Bad Brains (1:52)
14.Type (Live) V. Reid (5:42)
15.Solace Of You (Live) C. Glover/V. Reid (4:23)

Personnel:
Corey Glover (vocals)
Vernon Reid (guitar)
Muzz Skillings (bass)
Will Calhoun (drums)

Additional personnel:
Lyvio G. (turntables)
Chris Cushman (saxophone)

Notes:
1-2 NYC, May 1991.
3-5 Unreleased tracks from "Time's Up", LA, April 1990.
6 Special Version adapted from "Time's Up".
Remixed by Soulshock & Cutfather.
7 At CBGB's, NYC, December 18, 1989.
8-9 At Cabaret Metro, Chicago, November 9, 1990.
10 At the Ritz, NYC, April 22, 1989.
11 At Cabaret Metro, Chicago, November 9, 1990.
12-13 At the Ritz, NYC, April 22, 1989.
14 At Electric Ladyland Studios, NYC, December 15, 1990.
15 At Cabaret Metro, Chicago, November 9, 1990.

Erykah Badu - Live

Me gustan cantantes del género llamado neo-soul como Erykah Badu, Lauryn Hill y Jill Scott, pero no me agradan demasiado sus discos en estudio donde suelen acompañarse por una batería electrónica tocando un beat repetitivo y algunos sintetizadores. Siempre me da la impresión que desatienden las interpretaciones y los arreglos, los que carecen de inspiración. Algo de ésto me sucede con Baduizm, el promisorio album debut de Badu. Pero aquí todo es diferente. Junto a una banda y un coro integrado por tres cantantes, ella levanta vuelo entregando canciones, la mayoría pertenecientes al nombrado CD, que suenan con una frescura y una energía brutales. Su voz luce espectacular en composiciones como Ye-Yo, el cover de Chaka Khan Stay y en Tyrone, entre otras. Ah, el comienzo con Rimshot incluye un guiño cómplice a So What de Miles Davis. (Kedar, 1997).

I like singers of the genre known as neo-soul Erykah Badu, Lauryn Hill and Jill Scott, but I don't like their studio albums which usually accompanied by a drum machine playing a repetitive beat and some synths. Whenever I get the impression that disregard the interpretations and arrangements, wich lack of inspiration. Something like this happens to me with Baduizm, Badu's promising debut album. But here everything is different. Together with a band and a choir integrated by three singers, she rose flight delivering songs, most belonging to the named CD, that sound with a freshness and brutal power. Her voice shines in compositions as Ye-Yo, the cover of Chaka Khan Stay and in Tyrone, among others. Ah, the beginning with Rimshot includes a complicit wink to So What by Miles Davis. (Kedar, 1997).

Tracks:
1.Rimshot (Intro) 3:50
2.Other Side Of The Game 8:22
3.On & On 5:31
4.Reprise 2:15
5.Apple Tree 4:05
6.Ye Yo 4:59
7.Searching 4:19
8.Boogie Nights/All Night 6:29
9.Certainly 6:59
10.Stay 4:51
11.Next Lifetime (Interlude) 1:30
12.Tyrone 3:42
13.Next Lifetime 12:06
14.Tyrone (extended version) 5:46

Personnel:
Erykah Badu (vocals)
Norman "Keys" Hurt (piano)
Hubert Eaves IV (bass)
Charles "Poogie" Bell (drums)
Joyce M. Strong, Karen Bernod, Chonita "N'Dambi" Gilbert (background vocals)

Recorded live at Sony Music Studios, New York.

Anita Baker - Giving You The Best That I Got

Siempre me gustó la voz de Anita Baker, desde los ochenta cuando las FM repetían una y otra vez Sweet Love y Giving You The Best That I Got. (Elektra/Asylum, 1988).

Always like Anita Baker's voice, since the eighties when the FM radio stations were repeating again and again Sweet Love and Giving You The Best That I Got. (Elektra/Asylum, 1988).

Tracks:
1.Priceless (4:47)
2.Lead Me Into Love (4:44)
3.Giving You The Best That I Got (4:18)
4.Good Love (5:38)
5.Rules (3:50)
6.Good Enough (4:49)
7.Just Because (5:09)
8.You Belong To Me (3:50)

Produced by Michael J. Powell

The Gary Burton Quartet With Eberhard Weber - Passengers

Este es el segundo disco de Gary Burton junto a los dos grandes bajistas Steve Swallow y Eberhard Weber, y el tercero y último que incluye a un joven Pat Metheny, quien asume aquí un rol más destacado que en los anteriores, siendo el único guitarrista, pues ya no forma parte de la banda su mentor en Berklee Mick Goodrick, aportando además tres de los seis temas. Por ese entonces, Metheny ya había editado su primer álbum solista, Bright Size Life (ECM, 1976), un año antes, en el cual graba una primera versión de Midwestern Nights Dream, lo cual permite, a partir de la comparación entre ambas, notar su temprana evolución. (ECM, 1977).

This is the second album by Gary Burton alongside the two great bassists Steve Swallow and Eberhard Weber, and the third and last that includes a young Pat Metheny, who assumes a more prominent role than before, being the only guitarist, because already his mentor at Berklee Mick Goodrick does not form a part of the band, providing also three of the six compositions here. By then Metheny had published his first album soloist, Bright Size Life (ECM, 1976), a year earlier, in which recorded a first version of Midwestern Nights Dream, allowing, from the comparison between both, noted his early evolution. (ECM, 1977).

Tracks:
1.Sea Journey Chick Corea 9:14
2.Nacada Pat Metheny 4:11
3.The Whopper Pat Metheny 5:28
4.B & G (MidWestern Nights Dream) Pat Metheny 8:22
5.Yellow Fields Eberhard Weber 6:58
6.Claude And Betty Steve Swallow 6:16

Personnel:
Gary Burton (vibraharp)
Pat Metheny (electric guitar)
Steve Swallow (bass guitar)
Eberhard Weber (electric upright bass)
Danny Gottlieb (drums)

Recorded November 1976 at Talent Studio, Oslo.

Cassandra Wilson - Blue Skies

No opino del mismo modo que quienes señalan que los mejores discos de Cassandra Wilson son aquellos más recientes en los que mezcla jazz con otros géneros populares como el blues y el pop. Y en modo alguno que ésto sea algo novedoso para una cantante, en todo caso, merecidamente, encontró cierto reconocimiento al hacerlo. Personalmente prefiero, al menos hoy, sus primeros trabajos orientados al jazz tradicional, donde su voz irrumpe a mitad de los ochenta con una frescura singular en sus grabaciones para el sello JMT. (JMT, 1988).

Do not feel the same way that those who say that the best discs of Cassandra Wilson are those most recent in which mixes jazz with other popular genres such as the blues and pop. And in any way that this is something new for a singer, in any case, deservedly, found some recognition in doing so. Personally I prefer, at least today, its first traditional jazz-oriented work, where her voice breaks in the middle of the eighties with a unique freshness in their recordings for the JMT label. (JMT, 1988).

Tracks:
1.Shall We Dance Richard Rodgers, Oscar Hammerstein (7:17)
2.Polka Dots And Moonbeams James Van Heusen, Johnny Burke (5:43)
3.I've Grown Accoustomed To His Face Frederick Loewe, Alan Jay Lerner (5:13)
4.I Didn't Know What Time It Was Richard Rodgers, Lorenz Hart (4:40)
5.Gee Baby Ain't I Good To You Don Redman, Andy Razaf (5:01)
6.I'm Old Fashioned Jerome Kern, Johnny Mercer (3:03)
7.Sweet Lorraine Clifford Burwell, Mitchell Parish (5:28)
8.My One And Only Love Guy Wood, Robert Mellin (5:59)
9.Autumn Nocturne Josef Myrow, Kim Gannon (4:59)
10.Blue Skies Irving Berlin (3:07)

Personnel:
Cassandra Wilson vocals
Mulgrew Miller piano
Lonnie Plaxico acoustic bass
Terri Lyne Carrington drums

Keith Jarrett Trio - Standards Live

Este es otro de mis discos en vivo preferidos. Es la primera grabación de un concierto del Standards Trio, registrado en Paris en 1985. (ECM, 1986).

This is another of my favorite live albums. It is the first recording of a concert by the Standards Trio, registered in Paris in 1985. (ECM, 1986).

Lista de temas:
1.Stella By Starlight Ned Washington/Victor Young 11:14
2.The Wrong Blues Alec Wilder/William Engvick 8:03
3.Falling In Love With Love Richard Rodgers/Lorenz Hart 8:41
4.Too Young To Go Steady Harold Adamson/Jimmy McHugh 10:10
5.The Way You Look Tonight Dorothy Fields/Jerome Kern 9:31
6.The Old Country Curtis Lewis/Nat Adderley 6:36

Personal:
Keith Jarrett: piano
Gary Peacock: bass
Jack DeJohnette: drums

Recorded July 1985.

FLAC/CUE/LOG/Scans/306 MB/54:18
Parte 1 Parte 2 Parte 3

Pat Metheny Group - Travels

Quería compartir algo de Pat Metheny de los ochenta y elegí este disco doble en vivo. Quienes visitan Jazz en la Web saben de mi fascinación por las grabaciones de los conciertos y ésta es de mis favoritas, con la calidad de sonido que garantiza una edición oficial. La banda brilla en Phase Dance, que solía abrir las presentaciones durante muchos años, en la explosión de percusión de Straight On Red y en las versiones de clásicos como Are You Going With Me?, Song For Bilbao y San Lorenzo. (ECM, 1983).

I wanted to share some of Pat Metheny of the eighties and chose this double live album. Visitors to Jazz en la Web know of my fascination with the recordings of the concerts and this is one of my favorites ever, with the sound quality that guarantees an official edition. The band shines in Phase Dance, which used to open the presentations for many years, the explosion of percussion Straight On Red and the versions of classics as Are You Going With Me?, Song For Bilbao and San Lorenzo. (ECM, 1983).

CD 1:
1.Are You Going With Me? (9:18)
2.The Fields, The Sky* (7:46)
3.Goodbye* (8:16)
4.Phase Dance (8:03)
5.Straight On Red (7:25)
6.Farmer's Trust* (6:25)

CD 2:
1.Extradition* (5:42)
2.Goin' Ahead*/As Falls Wichita, So Falls Wichita Falls (16:20)
3.Travels (5:03)
4.Song For Bilbao* (8:26)
5.San Lorenzo (13:35)

Personnel:
Pat Metheny: Guitars, Guitar Synthesizer
Lyle Mays: Piano, Synthesizer, Organ, Autoharp, Synclavier
Steve Rodby: Acoustic and Electric Bass, Bass Synthesizer
Dan Gottlieb: Drums
Nana Vasconcelos: Voice, Percussion, Berimbau

Compositions by Pat Metheny* and Pat Metheny/Lyle Mays

Recorded in July, October, November 1982

FLAC/CUE/LOG/265 MB/47:15
Parte 1 Parte 2 Parte 3

FLAC/CUE/LOG/Scans/275 MB/49:11
Parte 1 Parte 2 Parte 3