Name: 80/81
Brand: Pat Metheny

Bonus disc

Bonus disc: No

Catalogue number

8431692

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Colour

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2020-04-03

Signed copies

Signed copies: No

Supplier GB

Proper

Tax rate GB

Standard:20

UPC / Barcode

42284316927

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Total Cap

2 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

Artist

Pat Metheny

Genre GB

Jazz

Label GB

ECM Records, also known as "The Creative Label," is a German independent label that was co-founded by producer Manfred Eicher, Manfred Scheffner, and Karl Egger in Munich (Pasing) in 1969. With the label code LC 2516 / LC 02516, ECM stands for Edition of Contemporary Music and focuses on jazz and Western classical music. They showcase both acoustic and electronic artists who produce eclectic versions of contemporary music.

ECM's extensive catalog features a wide range of genres, from contemporary works by renowned composers like Steve Reich, Arvo Pärt, and Philip Glass to experimental and electronic jazz from artists such as Nils Petter Molvær, Pat Metheny Group, and Jan Garbarek. Over the past 40+ years, ECM has released more than 1500 recordings that have been acclaimed for their exceptional music quality, creative production techniques, and outstanding sound.

Although an independent label, ECM titles are distributed by Universal Music Group (UMG) in the US, Japan, and throughout Europe. However, they have also collaborated with other distributors over the years. Notably during the period when Polydor distributed ECM products in Germany; [l447694] was used for pressing identified by a CP suffix on labels and runouts. Afterward,[l25946] became their primary distributor.

Pat Metheny was born in Kansas City on August 12, 1954 into a musical family. He started playing the trumpet at the age of 8 but later switched to guitar at age 12. By the time he was 15, Metheny was already performing with some of the best jazz musicians in Kansas City, gaining valuable experience at a young age.

In 1974, Metheny made his mark on the international jazz scene during his three-year collaboration with vibraphone great Gary Burton. His unique playing style blended loose and flexible articulation typically reserved for horn players with an advanced rhythmic and harmonic sensibility. With his debut album "Bright Size Life" released in 1975, Metheny revolutionized the traditional sound of jazz guitar for a new generation.

Throughout his career, Pat Metheny has continuously pushed boundaries by incorporating new technology and exploring the improvisational and sonic potential of his instrument. He has collaborated with renowned artists such as Steve Reich, Ornette Coleman, Herbie Hancock, Jim Hall, Milton Nascimento, Joni Mitchell and David Bowie among others.

Pat Metheny's credibility with the jazz community went way up with the release of this package, a superb two-CD collaboration with a quartet of outstanding jazz musicians that dared to be uncompromising at a time when most artists would have merely continued pursuing their electric commercial successes. From the disbanded Keith Jarrett American quartet came bassist Charlie Haden and tenor Dewey Redman -- who alternates with and occasionally plays alongside tenor Michael Brecker -- and Jack DeJohnette provides more combustible drumming than Metheny had ever experienced on record before. Yet Metheny's off-kilter wandering on solo electric guitar is a comfortable fit for the post-bop rhythmic crosscurrents of this music. Indeed, Haden and Metheny are in total sympathy, perhaps celebrating their mutual Missouri roots, and Metheny's difficult "Pretty Scattered" -- which he mockingly described as "Guitar Revenge!" -- nearly manages to stump even Redman and Brecker. The first of the "Two Folk Songs" is a great example of the Metheny folk-jazz fusion, with furious strummed guitar underpinning Brecker's melodic line and excursions on the outside and DeJohnette's spectacular drums. Another remarkable track is "Open," a group improvisation that finds DeJohnette shaping the track's direction with a pushing solo and Metheny and the saxes emerging at the end. The two original LPs were organized so that the more distinctive Metheny fusions were on sides one and four and the overt jazz tracks occupied sides two and three.

80/81

Music GB