•
Rating: One of the most delightful artistic collaborations of the '90s. When Pat Metheny is accompanied by legendary figures, it can be said that he gives his best. This had already happened with Charlie Haden and John Scofield, leading up to this fruitful collaboration with Jim Hall.
To expand their mutual respect, this recording from 1998. The album contains new compositions by the two artists and some standards, for a substantial total of 17 tracks (some studio, some live).
While Jim Hall only plays the electric guitar, Pat indulges himself with his array of guitars, including the Ibanez, the Manzer acoustic, and the incredible 42-string Pikasso (to be heard in "Improvvisation 2" and "Into The Dream").
The two guitarists appear much more blended than one might think. Hall takes Metheny into his universe, marked by rigor and few concessions to flashy displays.
This is a magical, serene, smooth album. The two guitars are crystal clear from the first encounter. The atmosphere is serene yet dynamic, tracing brilliant and touching paths at the same time. If you want to get an idea of the tone and quality of the entire album, rely on the notes of the opening composition, "Looking Up" written by Jim Hall.
The reinterpretation of Kern's classic "All The Things You Are" is another fabulous discovery of indisputable elegance. An impressive transformation from the original, with absolute technique and permeated with a gentleness suitable for the peace of a relaxing evening.
There are intriguing tracks, with complex structures, under the name "Improvvisation", where Pat and Jim duel with refined elegance, demonstrating perfect harmony.
Among the most touching tracks, without euphemism, is "Falling Grace", written by bassist Steve Swallow.
A rather challenging experiment involves the reinterpretation of the most played track of all time. I'm talking about "Summertime" by Gerschwin. The dynamism is evident in Pat's guitar work, colored by Hall's genius. Even in this case, avoiding parochialism and passions, the track has a new life and is infused with freshness, distancing itself from any expectations. This is perhaps the most complex challenge since, often, in respecting the original, there's a risk of being banal. In this case, it's all to be enjoyed.
The two-guitar format rewards the interpretation of the sweet metheny classic "Don't Forget". Noteworthy, for its mysterious and introspective setting, "Waiting To Dance", by master Hall, who has composition talent to spare.
Unmissable.
Loading comments slowly
