Jazz

Gary Burton - Duster (1967)

2009-10-17T20:14:02Z

Gary Burton - Duster (1967)


1.Ballet  
2.Sweet Rain  
3.Porthmouth Figurations  
4.General Mojo's Well Laid Plan  
5.One, Two, 1-2-3-4  
6.Sing Me Softly Of the Blues  
7.Liturgy  Response

Gary Burton - Vibraphone
Larry Coryell - Guitar
Mike Gibbs - Trombone
Roy Gibbs - Drums
Roy Haynes - Drums
Steve Swallow - Bass

This CD reissue is quite important and in some ways can be considered one of the first fusion records. Vibraphonist Gary Burton had just added the young rock/blues guitarist Larry Coryell to his quartet (which also included bassist Steve Swallow and drummer Roy Haynes), and Coryell's influence can be felt throughout the performances. Highlights include Michael Gibbs' "Sweet Rain," Swallow's "General Mojo's Well Laid Plan," Coryell's exploratory and speedy "One, Two, 1-2-3-4" and Carla Bley's "Sing Me Softly of the Blues." Although Burton's basic sound had not changed during from the previous year, his openness toward other styles made his Quartet one of the most significant jazz groups of the period. This was the first of the four Burton-Coryell recordings. This important set was reissued on a 1997 Koch CD. ---Scott Yanow, Rovi

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Gary Burton 4tet Revisited With Pat Metheny (2008)

2012-07-13T18:51:54Z

Gary Burton 4tet Revisited With Pat Metheny (2008)


01. Introduction
02. Sea Journey
03. Olhos de Gato
04. Falling Grace
05. Gary speaks
06. Coral
07. Question & Answer
08. Question & Answer continued
09. Pat speaks B & G Midwestern Nights Dream
10. Syndrome
11. Improvisational Intro to Angel Eyes
12. Angel Eyes
13. O Grande Amor
14. Blue Comedy
15. Como En Vietnam
16. Applause
17. Unquity Road
18. Applause
19. Las Vegas Tango

Lineup:
Gary Burton Vibes
Pat Metheny Guitar
Steve Swallow Bass
Antonio Sanchez Drums

Pescara Jazz Festival Italy 2008

A mouthwatering reunion of a classic quartet. With Pat Metheny, Steve Swallow and Antonio Sanchez.

Way back in the 1960s, Gary Burton was one of a generation of young jazz trailblazers who embraced the rhythm and and energy of rock music, creating music that spoke to a new audience worldwide. His ability to find great guitarists is the stuff of legends - the original quartet included Larry Coryell - John Scofield, Kurt Rosenwikl and the latest prodigy, Julian Lage, have all passed through the quartet's ranks.

And Pat Metheny.

In the mid 70s, Burton recognised the young guitarist's massive talent - as a member of the quartet, Metheny toured and recorded three albums for ECM before leaving to form his own band....and the rest of the story is that of perhaps the most prolific and admired musicians to emerge from the world of jazz. Gary Burton, of course, continues to create extraordinary soundscapes with his shimmering and intensely melodic vibraphone improvisations.

The reunion of Burton and Metheny in the quartet setting that marked their first work together is positively mouth-watering. This is no trip into nostalgia, however - both artists are tirelessly inventive, and the music they will make together is sure to retain the freshness and invention that characterised their first meetings. What's more, the bass chair is occpied by one Steve Swallow, whose switch from acoustic to electric back in the 60s - as a charter member of the original Burton Quartet - caused many raised eyebrows amongst the jazz traditionalists of the day - and he remains one of the masters of the instrument. Antonio Sanchez, however, is today's find - Metheny's current drummer of choice, he's one of the most powerful drummers around.

In this special concert the shimmering sounds of Burton's vibraphone are re-united with Metheny's lyrical guitar solos and master bassist Steve Swallow in what promises to be one of this year's international jazz milestones. --- barbican.org.uk

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Gary Burton Quintet - Dreams So Real (1975)

2009-10-17T20:16:04Z

Gary Burton Quintet - Dreams So Real (1975)


01. Dreams So Real 
02. Ictus - Syndrome - Wrong Key Donkey 
03. Jesus Maria 
04. Vox Humana 
05. Doctor 
06. Intermission Music

Gary Burton - Vibraphone
Mick Goodrick - Guitar
Pat Metheny - Guitar, Guitar (12 String), Guitar (12 String Electric)
Bob Moses - Drums
Steve Swallow – Bass

Performing the intricate music of Carla Bley is no mean feat, but if anyone is up for the challenge, it would be vibraphonist Gary Burton. Signifying a high watermark in his career in the mid-'70s, Dreams So Real teams Burton with his fellow professor at the Berklee College of Music Mick Goodrick, along with recently graduated student Pat Metheny. Add the peerless electric bass guitarist Steve Swallow and always proficient drummer Bob Moses, and you have the makings of a short-lived supergroup capable of playing Bley's memorable, melancholy music. While generally regarded as one of many Burton/Metheny pairings, it is Goodrick's individualism (it was he who primarily tutored Metheny) that needs more recognition. With Goodrick on electric six-string and Metheny on electric 12-string guitar, the sonorities they establish allow Burton to freely discourse on Bley's prickly angular melodies. The brittle and fractured combo track "Ictus/Syndrome" -- closer to a three-piece suite -- goes from a frantic neo-bop meter to straight-ahead swing with a clearly inspired Burton rambling into the bright signature rondo sound that Metheny and Swallow have always owned. "Syndrome" might also be familiar to Bley's fans as "Wrong Key Donkey." "Doctor" merges the vibes and guitars into a guided prognosis of hypertension within slowly elevated blood pressure levels. "Intermission Music," inspired by golden age films, is a beautiful waltz vehicle for the guitars rhythmically, and for Swallow and Moses melodically. With the bandmembers at their most passionate, the title track is a lighthearted but cerebral ballad, "Vox Humana" a simplified tango, while "Jesus Maria" evokes the delicate epic strains of Bley's personalized sound with Burton playing it alone. While the singing sound of Metheny is in its infant stages, it is easily recognizable and clearly realized. Generally regarded as one of Burton's top three recorded dates, it has stood the test of time. Perhaps some day, a complete collection of the vibist playing Carla Bley's many other compositions can be compiled to complement this surface-scratching but very important album. ---Michael G. Nastos, Rovi

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