(Miles Davis)
( 8'24, 3.84Mo)

Extrait de QUESTION & ANSWER , avec: Pat METHENY (guitar), Dave HOLLAND (doublebass) and Roy HAYNES (drums).



''b. 12 August 1954, Kansas City, Missouri, USA. Although classed as a jazz guitarist, Metheny has bridged the gap between jazz and rock music in the same way that Miles Davis did in the late 60s and early 70s. Additionally, he played a major part in the growth of jazz's popularity among the younger generation of the 80s. Throughout his career, his extraordinary sense of melody has prevented his work from becoming rambling or self-indulgent. His first musical instrument was a French horn, and surprisingly he did not begin with the guitar until he was a teenager. His outstanding virtuosity soon had him teaching the instrument at the University Of Miami and the Berklee College Of Music in Boston. He joined Gary Burton in 1974, and throughout his three-album stay, he contributed some fluid Wes Montgomery -influenced guitar patterns. Manfred Eicher of ECM Records saw the potential and initiated a partnership that lasted for 10 superlative albums. He became, along with Keith Jarrett, ECM's biggest-selling artist, and his albums regularly topped the jazz record charts. Metheny has also been one of the few jazz artists to make regular appearances in the pop album charts, such is the accessibility of his music. His early albums, Bright Size Life (featuring the late Jaco Pastorius ), and Watercolors showed a man who was still feeling his way. His own individual style matured with Pat Metheny Group in 1978. Together with his musical partner (and arguably, his right arm), the brilliant keyboard player Lyle Mays, whose quiet presence at the side of the stage provided the backbone for much of Metheny's work, he initiated a rock band format that produced album after album of melodious jazz/rock. Following a major tour with Joni Mitchell and Pastorius ( Shadows And Light ), Metheny released New Chautauqua, on which he demonstrated an amazing dexterity on the 12-string guitar. The album made the US Top 50. He returned to the electric band format for American Garage, which contained the country-influenced '(Cross The) Heartland'. The double set 80/81 featured Michael Brecker, Jack DeJohnette, Charlie Haden and Dewey Redman, and was more of a typical jazz album, featuring in particular the moderately avant garde 'Two Folk Songs'. Nevertheless, the record still climbed the popular charts. During this time, Metheny constantly won jazz and guitarist polls. Mays' keyboards featured prominently in the band structure, and he received co-authorship credit for the suite As Falls Wichita, So Falls Wichita Falls. Metheny had by now become fascinated by the musical possibilities of the guitar synthesizer or synclavier. He used this to startling effect on Offramp, notably on the wonderfully contagious and arresting 'Are You Going With Me?'. The double set Travels showed a band at the peak of its powers, playing some familiar titles with a new freshness. The short piece 'Travels' stands as one of his finest compositions; the low-level recording offers such subtle emotion that it becomes joyously funereal. Rejoicing was a modern jazz album demonstrating his sensitive interpretations of music by Horace Silver and Ornette Coleman. First Circle maintained the standard and showed a greater leaning towards Latin-based music, though still retaining Metheny's brilliant ear for melody. In 1985, he composed the score for the movie The Falcon And The Snowman which led to him recording 'This Is Not America' with David Bowie. The resulting UK Top 20/US Top 40 hit brought Metheny many new young admirers. The concert halls found audiences bedecked in striped rugby shirts, in the style of their new hero. Ironically, at the same time, following a break with ECM, Metheny turned his back on possible rock stardom and produced his most perplexing work, Song X, with free-jazz exponent Ornette Coleman. Reactions were mixed in reviews of this difficult album - ultimately the general consensus was that it was brilliantly unlistenable. He returned to more familiar ground with Still Life (Talking) and Letter From Home, although both experimented further with Latin melody and rhythm. Metheny enjoyed a particularly creative and productive time from 1989-90. Reunion was a superb meeting with his former boss Gary Burton. A few months later he recorded Question And Answer with Dave Holland and Roy Haynes. Additionally he was heavily featured, along with Herbie Hancock, on the excellent Jack DeJohnette album, Parallel Realities. He continued into the 90s with Secret Story, an album of breathtaking beauty. Although the album may have made jazz purists cringe, it was a realization of all Metheny's musical influences. His second live album, The Road To You, did not have the emotion of Travels. It was something to keep the fans quiet before he unleashed an exciting recording with John Scofield, the guitarist who most regularly shared the honours with Metheny at the top of the jazz polls. The follow-up, Zero Tolerance For Silence, could only be described as astonishing. For many the wall-of-sound guitar was a self-indulgent mess, and after repeated plays the music did not get any easier, but it needed to be appreciated what a bold move this thrash metal outing was. Metheny also found himself reviewed in the Heavy Metal press for the first (and last) time. We Live Here was a return to more traditional ground, and restored Metheny to his familiar position at the top of the jazz charts. It won a Grammy in 1996 for the best contemporary jazz album. In the late 90s, Metheny recorded acclaimed duet albums with Haden and Jim Hall. His 1999 offering A Map Of The World was a set piece of evocative beauty. The album, a series of 28 pieces inspired by the motion picture A Map Of The World, was misunderstood as being merely a movie soundtrack. It ranks as one of his finest works; delicate in parts, emotional in places, especially where the music is enriched by a full orchestra. On this album Metheny's dexterity as a guitarist takes second place to his brilliance as a composer. The subsequent trio album with Larry Grenadier (bass) and Bill Stewart (drums) was of an equally high standard. The attendant Trio - Live compiled the results of Metheny's first live trio work since the early 90s. Metheny is able to comfortably move between the pop jazz that made his name and pure jazz. He is one of the few artists who can do it with such success.''



''b. 1 October 1946, Wolverhampton, Staffordshire, England. Holland plays guitar, piano, bass guitar and also composes, but it is as a bassist and cellist that he has made an international reputation. He studied at London's Guildhall School of Music and Drama from 1965-68 and was principal bassist in the college orchestra. On the London scene he worked with John Surman, Kenny Wheeler, Evan Parker, Ronnie Scott and Tubby Hayes and deputized for Johnny Mbizo Dyani with Chris McGregor 's group. In 1968 Miles Davis heard him at Ronnie Scott's club and asked him to join his band in New York. Holland did so in September in time to appear on some of the tracks for Les Filles De Kilimanjaro. He stayed until autumn 1970, appearing on the seminal In A Silent Way and Bitches Brew, then he and Chick Corea (who had joined Davis at about the same time as Holland had) formed Circle with Anthony Braxton and Barry Altschul. Circle broke up in 1972 when Corea left, but Braxton, Altschul and Sam Rivers played on Holland's Conference Of The Birds. Holland also played in Rivers' and Braxton's groups in the 70s, as well as in the occasional trio Gateway (with John Abercrombie and Jack DeJohnette ). The 1977 Emerald Tears was a solo bass album, and in 1980 Holland played at Derek Bailey 's Company Festival, recording Fables with Bailey, George Lewis and Evan Parker. Since the early 80s, following recovery from serious illness, he has lead his own much-admired group, which has included Kenny Wheeler, Julian Priester, Marvin 'Smitty' Smith, Kevin Eubanks and Steve Coleman, and in 1984 he began a series of fine albums for ECM Records, perhaps most notably 1990's highly-acclaimed Extensions. In 1986, he toured Europe in a remarkable quartet with Albert Mangelsdorff, John Surman and Elvin Jones which, regrettably, did not issue any recordings; and in the late 80s also played with the London Jazz Composers Orchestra, recording on their Zurich Concerts collaboration with his longtime associate Anthony Braxton.''



''b. 13 March 1926, Roxbury, Massachusetts, USA. Haynes began his career in his home town where he played drums with Sabby Lewis' big band. In the early 40s he joined Pete Brown 's jump band and later in the decade was on the road with the Luis Russell big band and also played in a small group led by Lester Young. In New York in the late 40s and early 50s, Haynes adapted readily to the demands of bebop and became a valued club gig and record session drummer for Charlie Parker, Bud Powell , Stan Getz , Wardell Gray , Miles Davis , Thelonious Monk , John Coltrane , Sarah Vaughan, Ella Fitzgerald, Billie Holiday and many other important artists. Haynes' career continued through the 60s and into the 70s with many fruitful collaborations with jazzmen such as George Shearing, Art Farmer, Kenny Burrell and Gary Burton, and in several interesting groups under his own leadership. In the early 80s Haynes recorded with Pat Metheny, Freddie Hubbard, joined Chick Corea for worldwide tours and continued to lead his own bands in New York. Haynes is a major figure in the development of bop drumming.''



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