Jazz Collection: Lyle Mays

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Jazz Collection: Lyle Mays Dienstag, 19. November 2013, 21.00 - 22.00 Uhr Samstag, 23. November 2013, 22.00 - 24.00 Uhr (Zweitsendung) Ohne ihn wäre der Gitarrist Pat Metheny nicht, was er heute ist: Lyle Mays ist seit den Anfängen der Pat Metheny Group mit dabei, ist Ko-Autor der allermeisten Stücke dieser weltberühmten Fusion-Band und nie richtig aus dem Schatten von Strahlemann Metheny herausgekommen. Wer je von der Pat Metheny Group gehört hat, der kennt Lyle Mays: der Pianist, Keyboarder und Komponist ist die rechte Hand von Pat Metheny. Er hat praktisch alle wichtigen Stücke dieser weltberühmten Band mit Metheny zusammen komponiert - und ist dennoch immer im Schatten von Metheny geblieben. Dabei beherrscht Lyle Mays das ganze Spektrum von elektronischen Soundteppichen bis zum makellosen akustischen Piano-Jazz perfekt. Wie ist Lyle Mays zu einem solchen musikalischen Tausendsassa geworden? Und warum wird er als Komponist ständig etwas unterschätzt? Immanuel Brockhaus ist Gast von Jodok Hess. Lab `75: Lab `75 LP NTSU LJ108 Track 2: Ouverture to the Royal Mongolian Suma Foosball Festival Pat Metheny: As Falls Wichita, So Falls Wichita Falls CD ECM 1190 Track 2: Ozark Pat Metheny Group: Offramp CD ECM 1216 Track 6: James Lyle Mays Trio: Fictionary CD Geffen GED24521 Track 9: Falling Grace Lyle Mays: Solo (Improvisations For Expanded Piano) CD Warner Bros. 47284 Track 10: Long Life Pat Metheny Group: Speaking Of Now CD Warner Bros 48025 Track 2: Proof Bonustracks – nur in der Samstagsausgabe Pat Metheny Group: Pat Metheny Group CD ECM Track 6: Lone Jack Track 1: San Lorenzo Pat Metheny Group: American Garage CD ECM Track 6: Cross the Heartland Track 4: American Garage Lyle Mays: Street Dreams CD Geffen Records Track 3: Chorinho Track 4: Possible Straight Joni Mitchel: Shadows and Light CD Elektra Track 5: Good Bye Poork-Pie Hat Track 9: Hejira Lyle Mays: Solo (Improvisations For Expanded Piano) CD Warner Bros. 47284 Track 3: We are all alone Ella Fitzgerald: Jazz ‘Round Midnight CD Verve Track 10: Round About Midnight .

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Dana Podcast Transcript
Transcript of Dana Podcast—Pat Metheny’s Brain on Music Guest: Pat Metheny was born in Kansas City on August 12, 1954 into a musical family. Starting on trumpet at the age of 8, Metheny switched to guitar at age 12. By the age of 15, he was working regularly with the best jazz musicians in Kansas City, receiving valuable on-the-bandstand experience at an unusually young age. Mr. Metheny first burst onto the international jazz scene in 1974. With the release of his first album, Bright Size Life (1975), he reinvented the traditional "jazz guitar" sound for a new generation of players. Throughout his career, Mr. Metheny has continued to re-define the genre by utilizing new technology and constantly working to evolve the improvisational and sonic potential of his instrument. As well as being an accomplished musician, Mr. Metheny has also participated in the academic arena as a music educator. At 18, he was the youngest teacher ever at the University of Miami. At 19, he became the youngest teacher ever at the Berklee College of Music, where he also received an honorary doctorate more than twenty years later (1996). Over the years, Mr. Metheny has won countless polls as "Best Jazz Guitarist" and awards, including three gold records for Still Life (Talking), Letter from Home, and Secret Story. He has also won 20 Grammy Awards in 12 different categories. Host: Bill Glovin serves as executive editor of The Dana Foundation. Prior to joining Dana Mr. Glovin was senior editor of Rutgers Magazine and editor of Rutgers Focus.
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October 1987
Cover Photo by Ebet Roberts EDUCATION IN THE STUDIO Roberts An Introduction 42 Ebet by Craig Krampf by ROCK 'N' JAZZ CLINIC Emphasizing Beats Photo by Rod Morgenstein 44 TEACHERS' FORUM Motivation by Ron Jordan 48 JAZZ DRUMMERS' WORKSHOP Basic Independence by Peter Erskine 72 ELECTRONIC INSIGHTS Marching To The MIDI Drummer by Bruce Nazarian 82 ROCK PERSPECTIVES Ringo Starr: The Early Period by Kenny Aronoff 102 ROCK CHARTS Ian Paice: "Perfect Strangers" by James Morton 106 CONCEPTS Listening NARADA MICHAEL by Roy Burns 120 CLUB SCENE WALDEN Selling Yourself On Tape In recent months, he has had great success as a producer for by Rick Van Horn 122 such artists as Whitney Houston and Aretha Franklin, but EQUIPMENT Narada Michael Walden isn't about to abandon his SHOP TALK drumming, and here he tells why. Snare Drum Options by Rick Mattingly 16 by John Clarke 76 PRODUCT CLOSE-UP More New Cymbals AL JACKSON by Rick Van Horn and Rick Until his untimely death, Al Jackson provided the backbeat Mattingly 126 for classic Memphis recordings by Booker T. & The MGs, Al ELECTRONIC REVIEW Greene, Sam & Dave, Otis Redding, and all the artists on Stax Pearl SC-40 Syncussion-X records. He is remembered by such friends and colleagues as by Bob Saydlowski, Jr. 128 Steve Cropper, Duck Dunn, Al Greene, and Jim Keltner. JUST DRUMS 132 by T. Bruce Wittet 22 REVIEWS PRINTED PAGE 104 PAUL LEIM PROFILES Since moving to L.A. from Dallas, Paul Leim has recorded PORTRAITS with an impressive array of artists, including Lionel Richie, Sherman Ferguson: Fire, Groove, Peter Cetera, and Kenny Rogers.
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How Steve Reich's Music Has Influenced Pat Metheny's and Lyle Mays' the Way Up
The Art of Composing: How Steve Reich's music has influenced Pat Metheny's and Lyle Mays' The Way Up A research into the history of composition techniques By Benjamin van Bruggen August 2014 1 \\\\\\\\\Supervisors: Prof. Dr. Emile Wennekes Dr. Eric Jas Contents Table of Illustrations 3 Table of Tables 4 \\\\\\\\\ABSTRACT 5 \\\\\\\\\INTRODUCTION 7 \\\\\\\\\PREFACE 13 CHAPTER A) PULSING REPEATED NOTES 21 Electric Counterpoint and Reich's compositional practice 21 As characteristic of The Way Up 24 CHAPTER B) THE PHASE SHIFTING TECHNIQUE 31 CHAPTER C) HARMONIC LANGUAGE 39 2 Piano and trumpet solo 40 The harmonic aspects of The Way Up’s main theme 42 CONCLUSION 53 \\\\\\\\\BIBLIOGRAPHY 56 \\\\\\\\\APPENDIX 1 58 Table of Illustrations Figure 1: The Way Up's lead-sheet's cover (Forsyth n.d.). 6 Figure 2: The Way Up's CD release has six different cover designs (AIGA Design Archives n.d.). 8 Figure 3: The Way Up's CD release's booklet (AIGA Design Archives n.d.). 11 Figure 4: Excerpt from Electric Counterpoint's score: bars 63-67 (silent parts not incorporated) (Reich 1987). 20 Figure 5: Pulsing repeated notes in The Way Up's opening measures (Metheny n.d.) 22 Figure 6: Pulsing repeated notes in The Way Up's opening measures (Metheny n.d.) 23 Figure 7: Pulsing repeated notes in The Way Up's opening measures (Metheny n.d.) 24 Figure 8: A scalar arpeggiating figure in the piano is added to the pulsing repeated notes played by the guitar (Metheny n.d.). 26 Figure 9: Reduction of harmonies and pulsing repeated notes in measures 1445-1516 (Metheny n.d.).
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Page 1 N E W R E L E a S E
NEW RELEASE O N I N T U I T I O N R E C O R D S R E C E I V E D 4 G R A M M Y N O M I N A T I O N S OREGON’s latest project, Oregon In Moscow, is a double CD with the Moscow Tchaikovsky Symphony Orchestra, and the group’s recorded debut of their orchestral repertoire—a prodigious body of work that has been developing over the life of the band, but never documented. In the thirty-year history of OREGON, there has always existed a strong kinship to orchestral music. The use of the double reeds alone has given the quartet an identity and expansive sound associated with the symphonic orchestra. This association isn’t confined only to their use of many orchestral instruments, but applies also to the composition and presentation of the music, including the careful attention to details such as articulation, dynamics, phrasing and tone production derived from their respective classical studies. Chief composer Ralph Towner explains, “OREGON came together as a group in New York City in 1970, and from the outset it was clear that our unusual instrumentation and collective musical experience invited a different approach to composition and improvisation. The jazz tradition of improvisation usually consists of the soloists taking turns improvising on the song’s harmonic structure, recycling the chord progressions and returning to the original melody only on the last repeat of the cycle. While still using and honoring this tradition, we began composing longer, more sectional forms that allowed each soloist to improvise on different material within the context of a single piece.
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Original Motion Picture Soundtrack) Mp3, Flac, Wma
Pat Metheny Group The Falcon And The Snowman (Original Motion Picture Soundtrack) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz / Stage & Screen Album: The Falcon And The Snowman (Original Motion Picture Soundtrack) Country: Europe Style: Soundtrack MP3 version RAR size: 1613 mb FLAC version RAR size: 1552 mb WMA version RAR size: 1115 mb Rating: 4.4 Votes: 223 Other Formats: DMF RA AHX TTA ASF MIDI VOC Tracklist Hide Credits Psalm 121 / Flight Of The Falcon 1 –Pat Metheny Group 4:08 Written-By – L. Mays*, P. Metheny* Daulton Lee 2 –Pat Metheny Group 5:56 Written-By – L. Mays*, P. Metheny* Chris 3 –Pat Metheny Group 3:16 Written-By – L. Mays*, P. Metheny* "The Falcon" 4 –Pat Metheny Group 4:59 Written-By – L. Mays*, P. Metheny* This Is Not America 5 –David Bowie / Pat Metheny Group 3:53 Written-By – D. Bowie*, L. Mays*, P. Metheny* Extent Of The Lie 6 –Pat Metheny Group 4:15 Written-By – Lyle Mays, P. Metheny* The Level Of Deception 7 –Pat Metheny Group 5:45 Written-By – L. Mays*, P. Metheny* Capture 8 –Pat Metheny Group 3:57 Written-By – L. Mays*, P. Metheny* Epilogue (Psalm 121) 9 –Pat Metheny Group 2:14 Written-By – L. Mays*, P. Metheny* Companies, etc. Copyright (c) – EMI-Manhattan Records Phonographic Copyright (p) – EMI-Manhattan Records Phonographic Copyright (p) – David Bowie Licensed To – EMI America Records Marketed By – EMI Distributed By – EMI Made By – EMI Uden Credits Acoustic Bass, Electric Bass – Steve Rodby Co-producer – Lyle Mays Drums, Percussion – Paul Wertico Guitar Synthesizer, Acoustic Guitar, Electric Guitar – Pat Metheny Mixed By – Bob Clearmountain Producer – David Bowie, Pat Metheny Producer [Album Producer By] – Pat Metheny Synthesizer [Synthesizers], Piano – Lyle Mays Vocals – Pedro Aznar (tracks: 2, 4) Notes © ℗ 1985 EMI-Manhattan Records, a division of Capitol Records, Inc.
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PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR Facultad De Ciencias De La Educación
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Pat Metheny TABLE of CONTENTS
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A Study of Compositional Techniques Used in the Fusion of Art Music With
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~Vv4i Metheny and Springsteen Wandering Weekends
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Metheny · Mehldau
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Pat Metheny Plays the Blues
Pat Metheny Plays the Blues by Anthony Kunovic Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the Jazz Studies Program YOUNGSTOWN STATE UNIVERSITY April, 2017 Thesis Anthony Kunovic I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: Anthony Kunovic, Student Date Approvals: David Morgan, Thesis Advisor Date Kent Engelhardt, Committee Member Date Francois Fowler, Committee Member Date Dr. Salvatore A. Sanders, Dean of Graduate Studies Date Abstract The purpose of this research is to gain a deeper understanding of the improvisational language of the jazz guitarist Pat Metheny, by transcribing and analyzing his solos over the 12-bar blues form. The topics covered are conventional jazz vocabulary, use of superimposition of harmonic progressions, non-tonal chromaticism, “Metheny-isms”, group interaction, phrase rhythm, technique and articulation. The results of this research will provide insight into Pat Metheny’s vocabulary and process. iii Table of Contents 1 Chapter 1: Introduction 6 Chapter 2: Blues Form 11 Chapter 3: Conventional Jazz Vocabulary 14 Chapter 4: Superimposition 19 Chapter 5: Non-Tonal Chromaticism 22 Chapter 6: Motivic and Thematic Development 25 Chapter 7: Metheny-isms 28 Chapter 8: Phrase Rhythm 31 Chapter 9: Group Improvisation 33 Conclusion 34 Appendix iv Chapter 1: Introduction Pat Metheny is one of the most influential guitar players of his generation.
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