~ Jim Hall With the Ron Carter Duo
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~ John Scofield
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~ Pat Metheny
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~ Bill Evans
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~ Pat Metheny, Steve Swallow, Antonio S Gary Burton
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Track Listings
| 1. Lookin' Up |
| 2. All The Things You Are |
| 3. Birds And The Bees |
| 4. Improvisation No 1 |
| 5. Falling Grace |
| 6. Ballad Z |
| 7. Summertime |
| 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 |
Product Description
Amazon.co.uk Review
The presence of Pat Metheny on Jim Hall's 1998 By Arrangement fulfilled the younger guitarist's long-standing dream of recording with Hall. But these duets confirm how beautiful their performing together could become. Unlike many encounters between high-profile guitarists, these recordings, from both a New York studio and a Pittsburgh concert, show no sense of competition or interest in displays of empty virtuosity. Instead, the CD's true to the enduring spirit of Hall's music, emphasizing interaction and a subtle complexity. Hall plays the lightly amplified electric guitar that is his trademark, with a gorgeous liquid tone, while Metheny brings a bevy of instruments to the meeting, including a standard electric (no synth), several acoustics--including a fretless classical--and his 42-string model for some remarkably harp-like effects. There's tremendous variety in the music and thought in the choices of tunes and approaches. "The Birds and the Bees", played in memory of its composer, the late guitarist Attila Zoller, has a haunting depth, while the frequently played "Summertime" achieves a new identity in Metheny's arrangement, with spare and vibrant lead contrasting with animated rhythm guitar. Both musicians are adept composers, and highlights include Metheny's "Ballad X" and Hall's increasingly propulsive "Cold Spring". Given that Hall participated in one of the first recorded examples of free improvisation, "Free Form" with the Chico Hamilton Quintet in 1955, and Metheny has recorded with the British avant-gardist Derek Bailey, it's fitting that the two guitarists test the limits of their empathy in five brief and intriguing collective improvisations that sometimes explore unusual textures and microtonal harmonies. Whatever the material, though, the earmarks of the set are a quiet energy and a sustained lyric invention that invite and reward repeated listenings. The recording quality is superb, capturing every nuance of this music that seems to live near the core of the jazz guitar ethos. --Stuart Broomer
CD Description
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 isa 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.
The presence of Pat Metheny on Jim Hall's 1998 By Arrangement fulfilled the younger guitarist's long-standing dream of recording with Hall. But these duets confirm how beautiful their performing together could become. Unlike many encounters between high-profile guitarists, these recordings, from both a New York studio and a Pittsburgh concert, show no sense of competition or interest in displays of empty virtuosity. Instead, the CD's true to the enduring spirit of Hall's music, emphasizing interaction and a subtle complexity. Hall plays the lightly amplified electric guitar that is his trademark, with a gorgeous liquid tone, while Metheny brings a bevy of instruments to the meeting, including a standard electric (no synth), several acoustics--including a fretless classical--and his 42-string model for some remarkably harp-like effects. There's tremendous variety in the music and thought in the choices of tunes and approaches. "The Birds and the Bees", played in memory of its composer, the late guitarist Attila Zoller, has a haunting depth, while the frequently played "Summertime" achieves a new identity in Metheny's arrangement, with spare and vibrant lead contrasting with animated rhythm guitar. Both musicians are adept composers, and highlights include Metheny's "Ballad X" and Hall's increasingly propulsive "Cold Spring". Given that Hall participated in one of the first recorded examples of free improvisation, "Free Form" with the Chico Hamilton Quintet in 1955, and Metheny has recorded with the British avant-gardist Derek Bailey, it's fitting that the two guitarists test the limits of their empathy in five brief and intriguing collective improvisations that sometimes explore unusual textures and microtonal harmonies. Whatever the material, though, the earmarks of the set are a quiet energy and a sustained lyric invention that invite and reward repeated listenings. The recording quality is superb, capturing every nuance of this music that seems to live near the core of the jazz guitar ethos. --Stuart Broomer
CD Description
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 isa 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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