| Jim Hall & Pat Metheny – Jim Hall & Pat Metheny (1998, Remastered 2011) |
Jim Hall & Pat Metheny – Jim Hall & Pat Metheny
Birth name: James Stanley Hall
Born: December 4, 1930
Origin: Buffalo, New York
Location: Buffalo ~ Ohio ~ New York
-------------------------------------------------------------------------------------------
Born: August 12, 1954, Lee's Summit. Missouri, United States
Notable instruments:
Gibson ES-175
Ibanez PM20 Signature Model
Ibanez PM100 Signature Model
Ibanez PM35
Roland GR-300
Pikasso guitar (http://en.wikipedia.org/wiki/Pikasso_guitar)
Pikasso/Manzer Guitars: http://www.manzer.com/guitars/index.php?option=com_content&view=article&id=25&Itemid=24 --------------------------------------------------------------------------------------------------------------------------------------------------
Album release: April 27, 1999/November 8, 2011
Record Label: Telarc/Nonesuch
Runtime: 73:47
“With each new concert tour and recording Jim reveals yet another facet of himself."
Tracklist:
01. Lookin' Up 4:34
02. All The Things You Are 6:59
03. The Birds And The Bees 5:08
04. Improvisation No. 1 1:05
05. Falling Grace 4:40
06. Ballad Z 4:34
07. Summertime 5:35
08. Farmer's Trust 5:33
09. Cold Spring 6:29
10. Improvisation No. 2 1:11
11. Into The Dream 3:06
12. Don't Forget 4:46 $0.99
13. Improvisation No. 3 3:22
14. Waiting To Dance 4:38
15. Improvisation No. 4 2:37
16. Improvisation No. 5 2:09
17. All Across The City 7:32
The album contains 11 studio recording tracks and 6 live recording tracks.
Personnel:
Jim Hall - Electric Guitar
Pat Metheny - Electric, Acoustic, Fretless Acoustic, and a 42-string Guitar
Website JH official: http://www.jimhallmusic.com/
Jim Hall´s fan website: http://jimhalljazz.com/
Website PM: http://www.patmetheny.com/
Editorial Reviews:
Pat Metheny's 1999 duo collaboration with Jim Hall, whom Metheny has called the "father of modern guitar playing," features 17 tracks reissued for the first time on Nonesuch - original tunes from each guitarist, several improvisations captured in the studio, plus six tunes recorded live in concert, including Gershwin's "Summertime." "The excellence of the playing is the heart of the matter," says the Philadelphia Inquirer. "It's a privilege to listen in." The Los Angeles Times calls it "extraordinary." (Amazon: http://www.amazon.com/Jim-Hall-Pat-Metheny/dp/B005G82LA8/ref=pd_sim_m_4)
These two guitarists — one an elder statesman, the other still a relatively young man in the midst of a stellar career — are such a natural fit that it’s amazing no one’s thought of getting them together for a duo album before. Both play with a gentle touch and sweet tone, and both are capable of challenging experimentation, though each have spent most of their time in one mainstream tradition or another (Jim Hall in straight-ahead jazz, Pat Metheny in jazz-rock fusion). On this disc they focus on original compositions (Metheny’s “Farmer’s Trust” and “Into the Dream,” Hall’s “Cold Spring” and “Waiting to Dance”), but there are also tunes by Jerome Kern and Steve Swallow as well as the inevitable rendition of “Summertime.” Their interplay is nothing short of astounding, and the five improvisational pieces scattered throughout the program sometimes sound as organized as the standards. The mood does get a little bit samey after a while, and the complete lack of high frequencies in both guitarists’ tones might leave you wondering if you’ve got water in your ear. But overall, this really is a wonderful album.
Jim Hall
Equipment:
Jim Hall has always used an extremely simple approach regarding his instruments. In the early stages of his career, playing with Chico Hamilton, he used a Gibson Les Paul Custom. From that period on, he has been associated with the Gibson ES-175 guitar. This guitar, originally with a single P90 pickup, was used with a Gibson GA50 amplifier. He then switched to a humbucking pickup before acquiring a custom made D'Aquisto guitar. After the GA50 he started using solid-state amplifiers, mostly Polytones (although he also used Walter Woods Amp and Harry Kolbe GP-1 Pre-Amp and Cab). Currently he is using his signature Sadowsky guitar, based on his original D'Aquisto.
He uses flatwound strings gauges 11, 15, 20 (plain), 30, 40, 50 (from high E to low E) and small teardrop picks of heavy gauge. It's not rare to see him using a Boss Chorus pedal and a Digitech whammy pedal.
When asked if he ever tried playing solid-body guitars again, he said "solid bodies are strange to me, I need to feel the body resonating". Jim Hall considers himself a musician first and a guitar player second, and his approach to gear reflects this.
Interview with Pat Metheny: 3/28/2012 trailer: http://www.artistshare.com/v4/projects/experience?artistID=7&projectID=431&langID=1&recordID=&salestypeID=6
Metheny was born and raised in Lee's Summit, Missouri, a suburb southeast of Kansas City. Following his graduation from Lee's Summit High School, he 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's and Carol Goss' Improvising Artists label, along with fretless electric bassist Jaco Pastorius.
Metheny entered the wider jazz scene in 1975 when he joined Gary 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.
Pikasso:
ORIGIN:
In 1984 Pat Metheny asked me to design and build a guitar with "as many strings as possible." The resulting collaboration was the Pikasso guitar. In 1992 I was asked by the late Scott Chinery to build a strictly acoustic version of Metheny's Pikasso. Thus, Pikasso II. This second Pikasso was recently on display at the Boston Museum of Fine Arts in a show called "Dangerous Curves".
INGREDIENTS:
Indian Rosewood Back and Sides, German Spruce top, Mahogany Necks, Ebony fingerboards, bridges and face plates, Pau abalone decorative trim Boxwood, Rosewood, Abalone Rosette Brass insets for mounting on stand.
SPECIAL FEATURES:
Four necks. Two sound holes. Two access doors; one on the upper player's side and one at the tail block (based on a panel door design by the brilliant -Abraham Wechter).
The "WEDGE" (TM 1984) is a special feature I designed specifically for this instrument. The body is tapered so that the side closest to the player is thinner than the side that rests on the players knee, thus leaning the top back towards the player for a more aerial view. This is also more comfortable under the player's arm. This feature is available as an option on all my flattop guitars. This instrument was outfitted with a complete state of the art piezo pickup system (designed and installed by Mark Herbert, Boston). This included a hexaphonic pickup on the 6 string section that allowed Metheny to access his Syclavier computersystem thus triggering any sound including sampled sounds. (Saxophone sampling can be heard on the song "Mob Job.") Two mounting holes on the treble side (knee side) are such that the guitar can be mounted on internal brass insets attaching to a stand, leaving hands free for playing or viewing. Brass side bridges were made by Linda and machinist Bruce West.
This instrument took 2 years to build (approximately 1000 hours), and when the 42 strings are tuned to concert pitch, the Pikasso is under approximately 1000 lbs pressure. It weighs 6.7 kg (14 3/4 lbs).
HEAR THE PIKASSO ON MANY RECORDINGS:
- Anna Maria Jopek and Pat Metheny Metheny Trio Live - "Into the Dream" 2001
- Metheny/Jim Hall CD - "Into the Dream" - 2000
- Metheny "Imaginary Day" CD - "Into the Dream" 2000
ALSO: Pat Metheny / Ornette Coleman "SONG X " (Geffen 9 24096-2) Cut: Mob Job, Pat Metheny "
- Secret Story " (Geffen GEFN-24468) Cuts: Finding and Believing, Rain River, As the Blossom Flowers (I will Come to You)
- Pat Metheny with Kenny Garrett "Pursuance" Cut: "After the Rain"
- PMG Netcast: patmethenygroup.com.
Jim Hall / Date: 21 April 2010, 20:50 / Author: Tom Beetz
| Jim Hall & Pat Metheny – Jim Hall & Pat Metheny (1998, Remastered 2011) |
Jim Hall & Pat Metheny – Jim Hall & Pat Metheny
Birth name: James Stanley Hall
Born: December 4, 1930
Origin: Buffalo, New York
Location: Buffalo ~ Ohio ~ New York
-------------------------------------------------------------------------------------------
Born: August 12, 1954, Lee's Summit. Missouri, United States
Notable instruments:
Gibson ES-175
Ibanez PM20 Signature Model
Ibanez PM100 Signature Model
Ibanez PM35
Roland GR-300
Pikasso guitar (http://en.wikipedia.org/wiki/Pikasso_guitar)
Pikasso/Manzer Guitars: http://www.manzer.com/guitars/index.php?option=com_content&view=article&id=25&Itemid=24 --------------------------------------------------------------------------------------------------------------------------------------------------
Album release: April 27, 1999/November 8, 2011
Record Label: Telarc/Nonesuch
Runtime: 73:47
“With each new concert tour and recording Jim reveals yet another facet of himself."
Tracklist:
01. Lookin' Up 4:34
02. All The Things You Are 6:59
03. The Birds And The Bees 5:08
04. Improvisation No. 1 1:05
05. Falling Grace 4:40
06. Ballad Z 4:34
07. Summertime 5:35
08. Farmer's Trust 5:33
09. Cold Spring 6:29
10. Improvisation No. 2 1:11
11. Into The Dream 3:06
12. Don't Forget 4:46 $0.99
13. Improvisation No. 3 3:22
14. Waiting To Dance 4:38
15. Improvisation No. 4 2:37
16. Improvisation No. 5 2:09
17. All Across The City 7:32
The album contains 11 studio recording tracks and 6 live recording tracks.
Personnel:
Jim Hall - Electric Guitar
Pat Metheny - Electric, Acoustic, Fretless Acoustic, and a 42-string Guitar
Website JH official: http://www.jimhallmusic.com/
Jim Hall´s fan website: http://jimhalljazz.com/
Website PM: http://www.patmetheny.com/
Editorial Reviews:
Pat Metheny's 1999 duo collaboration with Jim Hall, whom Metheny has called the "father of modern guitar playing," features 17 tracks reissued for the first time on Nonesuch - original tunes from each guitarist, several improvisations captured in the studio, plus six tunes recorded live in concert, including Gershwin's "Summertime." "The excellence of the playing is the heart of the matter," says the Philadelphia Inquirer. "It's a privilege to listen in." The Los Angeles Times calls it "extraordinary." (Amazon: http://www.amazon.com/Jim-Hall-Pat-Metheny/dp/B005G82LA8/ref=pd_sim_m_4)
These two guitarists — one an elder statesman, the other still a relatively young man in the midst of a stellar career — are such a natural fit that it’s amazing no one’s thought of getting them together for a duo album before. Both play with a gentle touch and sweet tone, and both are capable of challenging experimentation, though each have spent most of their time in one mainstream tradition or another (Jim Hall in straight-ahead jazz, Pat Metheny in jazz-rock fusion). On this disc they focus on original compositions (Metheny’s “Farmer’s Trust” and “Into the Dream,” Hall’s “Cold Spring” and “Waiting to Dance”), but there are also tunes by Jerome Kern and Steve Swallow as well as the inevitable rendition of “Summertime.” Their interplay is nothing short of astounding, and the five improvisational pieces scattered throughout the program sometimes sound as organized as the standards. The mood does get a little bit samey after a while, and the complete lack of high frequencies in both guitarists’ tones might leave you wondering if you’ve got water in your ear. But overall, this really is a wonderful album.
Jim Hall
Equipment:
Jim Hall has always used an extremely simple approach regarding his instruments. In the early stages of his career, playing with Chico Hamilton, he used a Gibson Les Paul Custom. From that period on, he has been associated with the Gibson ES-175 guitar. This guitar, originally with a single P90 pickup, was used with a Gibson GA50 amplifier. He then switched to a humbucking pickup before acquiring a custom made D'Aquisto guitar. After the GA50 he started using solid-state amplifiers, mostly Polytones (although he also used Walter Woods Amp and Harry Kolbe GP-1 Pre-Amp and Cab). Currently he is using his signature Sadowsky guitar, based on his original D'Aquisto.
He uses flatwound strings gauges 11, 15, 20 (plain), 30, 40, 50 (from high E to low E) and small teardrop picks of heavy gauge. It's not rare to see him using a Boss Chorus pedal and a Digitech whammy pedal.
When asked if he ever tried playing solid-body guitars again, he said "solid bodies are strange to me, I need to feel the body resonating". Jim Hall considers himself a musician first and a guitar player second, and his approach to gear reflects this.
Interview with Pat Metheny: 3/28/2012 trailer: http://www.artistshare.com/v4/projects/experience?artistID=7&projectID=431&langID=1&recordID=&salestypeID=6
Metheny was born and raised in Lee's Summit, Missouri, a suburb southeast of Kansas City. Following his graduation from Lee's Summit High School, he 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's and Carol Goss' Improvising Artists label, along with fretless electric bassist Jaco Pastorius.
Metheny entered the wider jazz scene in 1975 when he joined Gary 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.
Pikasso:
ORIGIN:
In 1984 Pat Metheny asked me to design and build a guitar with "as many strings as possible." The resulting collaboration was the Pikasso guitar. In 1992 I was asked by the late Scott Chinery to build a strictly acoustic version of Metheny's Pikasso. Thus, Pikasso II. This second Pikasso was recently on display at the Boston Museum of Fine Arts in a show called "Dangerous Curves".
INGREDIENTS:
Indian Rosewood Back and Sides, German Spruce top, Mahogany Necks, Ebony fingerboards, bridges and face plates, Pau abalone decorative trim Boxwood, Rosewood, Abalone Rosette Brass insets for mounting on stand.
SPECIAL FEATURES:
Four necks. Two sound holes. Two access doors; one on the upper player's side and one at the tail block (based on a panel door design by the brilliant -Abraham Wechter).
The "WEDGE" (TM 1984) is a special feature I designed specifically for this instrument. The body is tapered so that the side closest to the player is thinner than the side that rests on the players knee, thus leaning the top back towards the player for a more aerial view. This is also more comfortable under the player's arm. This feature is available as an option on all my flattop guitars. This instrument was outfitted with a complete state of the art piezo pickup system (designed and installed by Mark Herbert, Boston). This included a hexaphonic pickup on the 6 string section that allowed Metheny to access his Syclavier computersystem thus triggering any sound including sampled sounds. (Saxophone sampling can be heard on the song "Mob Job.") Two mounting holes on the treble side (knee side) are such that the guitar can be mounted on internal brass insets attaching to a stand, leaving hands free for playing or viewing. Brass side bridges were made by Linda and machinist Bruce West.
This instrument took 2 years to build (approximately 1000 hours), and when the 42 strings are tuned to concert pitch, the Pikasso is under approximately 1000 lbs pressure. It weighs 6.7 kg (14 3/4 lbs).
HEAR THE PIKASSO ON MANY RECORDINGS:
- Anna Maria Jopek and Pat Metheny Metheny Trio Live - "Into the Dream" 2001
- Metheny/Jim Hall CD - "Into the Dream" - 2000
- Metheny "Imaginary Day" CD - "Into the Dream" 2000
ALSO: Pat Metheny / Ornette Coleman "SONG X " (Geffen 9 24096-2) Cut: Mob Job, Pat Metheny "
- Secret Story " (Geffen GEFN-24468) Cuts: Finding and Believing, Rain River, As the Blossom Flowers (I will Come to You)
- Pat Metheny with Kenny Garrett "Pursuance" Cut: "After the Rain"
- PMG Netcast: patmethenygroup.com.
Jim Hall / Date: 21 April 2010, 20:50 / Author: Tom Beetz