Lyle Mays

1. Highland Aire

2. Teiko

3. Slink

4. Mirror of the Heart

5. Alaskan Suite: Northern Lights

6. Alaskan Suite: Invocation

7. Alaskan Suite: Ascent

8. Close to Home

Lyle Mays,Lyle Mays,Geffen Records,Adult Alternative,Contemporary Instrumental,Contemporary Jazz,Crossover Jazz,Fusion,Jazz,Jazz-Pop,Post-Bop,Smooth Jazz

As Falls Wichita, So Falls Wichita Falls

Average customer rating:

38, 42, 55, 3
Apocalyptic Metheny
Simply beautiful
I wish I could give this album 10 stars!
I tried, I really tried

As Falls Wichita, So Falls Wichita Falls
Pat Metheny & Lyle Mays
Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Offramp
Pat Metheny Group
American Garage
Watercolors
New Chautauqua

ASIN: B000026255
Release Date: 2000-02-29

Tracks:

As Falls Wichita, So Falls Wichita Falls
Ozark
September Fifteenth - (dedicated to Bill Evans)
"It's For You"
Estupenda Graca

Amazon.com essential recording

Guitarist Pat Metheny and his longtime keyboard collaborator/alter ego Lyle Mays saw in their rural American roots a mystical connection to an entire world of sounds, and with As Falls Wichita, So Falls Wichita Falls, they began the process of fashioning an idiomatic folk expression all their own. With the help of master percussionist Nana Vasconcelos, they create a whistlestop tour of musical outposts on the extended title track that is at once gothic and atmospheric in the manner of Weather Report, bucolic and harmonious like the Byrds--with echoes of small towns, strip malls, and lonely railyards, over expanses of wide-open space that reflect their familial origins and countless miles wandering the interstate on a string of college-town one-nighters. In the four square major modes of "Ozark" and "It's for You" you can hear the beige tinge of the American experience that melded with African American music to give the U.S. its musical depth and breadth, while "September Fifteenth" is a prayerful, ruminative reflection on the spirit of their romantic forebear, pianist Bill Evans. --Chip Stern

Customer Reviews:

38, 42, 55, 3.......2007-04-01

I adore this album. It's so deep, mysterious, and moving I even used a snippet of the title track in a student film I once did. I don't think Pat Metheny is ever really given the credit as a great jazz musician that he deserves. His music is extraordinarily ethereal and almost other worldy, and some narrow minded people mistake this for new age music, or worse, elevator, Kenny G style music, which is absurd. I doubt that Kenny G or John Tesh would create something like the epic title track here. The title track is one of the most majestic pieces of music I ever heard, almost like a concerto or a really complex prog rock piece. The song Ozark is a lot lighter than the rest of the album, but it's still really good. September 15th is wonderful, with amazing piano work by Lyle Mays, Metheny's frequent colloborator. "It's for You" is nice, and the album's closer is quite moving and simple. The title of the album is almost one of the more memorable titles in history. This, along with Offramp, 80/81, Song X, and Beyond the Missouri Sky, are my favorite Metheny albums.

Apocalyptic Metheny.......2007-01-12

I first discovered Pat Metheny when hearing "As Falls Wichita, So Falls Wichita Falls" on a radio jazz program in university. My friend and I were laying on our living room floor with the lights out when this 18 minute song came on and totally freaked us out. I always interpreted it as some sort of apocalyptic warning or something. There was a lot of it in those days. But my friend and I never forgot it and bought the album the next day. It's taken me a long time to get the CD but I enjoy it just as much.

Of course the title track doesn't give you any idea of how awesome a guitarist Metheny is. The second side does however, but not as much as some of his other albums like "Offramp". But there are some very interesting melodic tracks on this album, from the ultimate driving song "Ozark", to the meditative "September 15th". All around, a great and unusual album.

Simply beautiful.......2006-08-14

Just the most heartfelt Metheny music I've ever heard. Being a longtime fan, I was delighted to hear some of this music on the soundtrack of the movie FANDANGO, with Kevin Costner and Judd Nelson. I especially loved their use of "It's For You" during the wedding. And "September Fifteenth" always brings me to tears.

I wish I could give this album 10 stars!.......2006-07-18

Okay, I am only 15 years old, and perhaps I am biased because my dad used to play this CD for me all the time growing up. Even so, I feel that this album is a group of timeless songs I'll like always and forever. It's hard to say exactly "why" i guess...every song is so beautiful, I don't need many words to describe them. They can speak for themselves. I plan to share this CD with all my friends and pass it along to my children because I hope they will appreciate the great instrumental work that went into these peices. One thing I do wonder is how you can say its "boring" or that you "just don't get them". I mean, I respect your opinion but...I will always stand behind my great love of Pat Metheny. Especially As Falls Wichita, So Falls Wichita Falls.

I tried, I really tried.......2006-05-05

I was playing some ultra-hyper Ursula 1000 the other night when my wife said, "Could you please play something mellow?" I know I had listened to AFWSFWF before and thought then what I'm about to write now, after having these thoughts confirmed last night.

AFWSFWF sounds like a half-baked movie score, I don't know how else to describe it. I don't know what is is about the "epic' Metheny works. I just don't get them, neither all their supposed "profundity" or musical "briliance." They bore me. I can't finish them. They take themselves too seriously such that I want to scream, "Lighten up!" Ok, wow, so you mixed some Asian-sounding guitar, a steady drumbeat, some somnolent piano respites, Pink Floyd like voices in the background and other "noise." Folks, I'm out, nocturnally. Nightie-night, sleep tight.

Average customer rating:

Worth buying for "Close to Home" alone
Stunning
Paving the way for the 21st Century...
amazing !
A Timeless Masterpiece

Lyle Mays
Lyle Mays
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Street Dreams
Solo: Improvisations for Expanded Piano
As Falls Wichita, So Falls Wichita Falls
Fictionary
Metheny / Mehldau

ASIN: B00000FYHM
Release Date: 1998-12-22

Tracks:

Highland Aire
Teiko
Slink
Mirror Of The Heart
Alaskan Suite: Northern Lights
Alaskan Suite: Invocation
Alaskan Suite: Ascent
Close To Home

Customer Reviews:

Worth buying for "Close to Home" alone.......2007-01-11

Many years ago I saw a clip of the Pat Metheny group playing a wonderfully atmospheric tune that I was unable subsequently to find on any Metheny CD - the reason being that it was a Lyle Mays piece, the final track of this CD. Finally tracked it down - thanks to YouTube - and am glad I did. I think Bill Frisell could have been more prominent, and some of the tracks haven't aged well, but if you like Metheny you'll probably like this: Mays is after all a large part of the whole PMG experience.

Stunning.......2006-04-17

I'll make this brief. I've been following Metheny and Mays for about 20+ years now. And of all the music I own (everything, not just Metheny and Mays), "Alaskan Suite" is one of my favorite songs of all time. It's power is unmatched. Can't begin to (and don't want to) list the images and emotions that this songs evokes. Truly incredible work by Lyle Mays.

Paving the way for the 21st Century..........2005-06-08

As Kramer said about the Soup Nazi on "Seinfeld": "He just happens to be a little eccentric. Most geniuses are." Lyle Mays is one of those. When I saw him in concert with the PMG on their "Speaking of Now" world tour, I was stunned. All decked out in his wild, untamed hairdue, Grinchy grin, and fingers as long as a tarantula's legs (w/out all the fuzz):D, Lyle poured out his soul on all those keyboards, and did it with style, grace, and absolute perfection. I already knew he was a great songwriter, co-composing almost every PMG tune, but I was pretty skeptical about his solo career. It wasn't very prolific, and from what I heard of most of them, they sounded a little too filler New Age-y. Man, did that opinion shatter after hearing this.

It took him long enough, but Lyle Mays' first solo effort is one for the books, an impassioned and totally immersive album of an artist who is way too often overlooked in the jazz arena. With an awesome band to back him up (Bill Frisell; take that Pat! JK), and a keen reflector of his influences, Lyle takes the upmost advantage of the fabulous technology and his bandmates to create an album utterly unique and amazing. While there are instances in the opening "Highland Aire" that suggests the PMG sound (the trademark pennywhistle synth on the main melody), this is Lyle's sole creation, and many of these songs would arguably serve as distinct influences in later PMG songwriting. "Teiko" sees the band dive even further into world influences. The pounding samurai and abrupt clashes send a sprawling pulse. But perhaps my personal favorite out of a barrage of great songs is "Slink", a complex and skillfully crafted tune that echoes the sounds of vintage Weather Report and Steely Dan, with some fine soloing thrown in for good measure. Lyle gives even the mighty Keith Jarrett a run for his money on the weird yet charming "Mirror of the Heart", setting the stage for the centerpiece of the album "Alaskan Suite". If the movie "Local Hero" had been set in Alaska instead of Scotland, this album could arguably serve as a fine soundtrack. Don't get me wrong, Mark Knopfler's soundtrack is astounding, but when you hear the subtleties and amazing marriage of blues and New Age on "Pt. 1: Northern Lights", you know you've heard something utterly indescribable. Picture a meteor shower over Mt. McKinley on "Invocation", and the end credits of an Alaskan movie on "The Ascent", and you've got yourself a magnum opus. Finally, "Close to Home" closes off the album in a quiet and beautiful fashion, pure Lyle Mays.

Pure Lyle Mays. One of the most underrated jazz musicians, who has so expertly fused the endless possibilities of new technology with his imagination, all together with a posse that Joni Mitchell would kill for. I hope jazzers take heed, because America's classical music is a dying art, and you need someone to push the genre forward into unchartered yet rewarding territories. This is one of the albums that does.

FINAL SCORE-9.25/10

amazing !.......2005-01-26

This album is a masterpiece. It represents one of those rare occasions when the right group of great musicians got together on the right day, with the right music. The balance within these compositions rivals anything the classical world has to offer, except that it's organic and spontaneous sounding. Lyle Mays
is so underated in the Jazz community it's frightening, makes me think they're not really listening. On top of his superlative composing/improvising chops, he's also an amazing original sound designer who's at the absolute top of the game. If you want to know why Pat Metheny introduces him as one of the great musical minds in the world today, listen to this album. In my humble opinion, Lyle Mays is the guy to catch if your a composer/improviser these days...and within these pieces you'll hear suggestions of where jazz might be headed. Everyone shines on this album, and because of it the songs are transcendant. I think this is perhaps my favorite album of all time, because I actually feel withdrawal if I don't hear it every once and a while. OK, how's that for a glowing review... and I meant every word of it! Do your self a favor and listen to this album often, you'll be a better person for it.
Cheers. Mark Daum

A Timeless Masterpiece.......2004-04-14

My 1st taste of Lyle Mays was with Pat Metheny on As Falls Wichita... also an amazing album. This is NOT something you play at a party. Neither is it something that would make an appropriate soundtrack for a Bruce Willis flick. There is a distinct possibility that any attempt to breakdance to this album might result in serious intestinal injury. This is a work you play for yourself or perhaps one special person you want to share something very personal with. I think Lyle Mays shares something very personal with his fans on this CD. The album has a deep and genuine feel to it with absolutely no needless showboating or pretence of ego. That is extremely rare when musicians of this caliber are put together.

Tracks:

Mountain Dance
Harpers Bizarre
James
Crossing The Stone (Tros Y Garreg)
Prelude From Partita No. 3
Third Movement From Electric Counterpoint
Eternal Dream
The Arrival Of The Queen Of Sheba From Solomon
Cafe Vamp Latino
Spain
Buenos Aires Hora Cero
Clair De Lune
Prelude In C/Ave Maria
Thingamujig
Suo Gan
Palladio (1st Movement)

Customer Reviews:

Simply Breath-Taking.......2007-03-05

Being a harpist myself, I can truly admire Catrin Finch's talent, style and choice of music selections for her first album.

Some songs are truly a revelation for the harp as an instrument using New Age style accompaniment, while there are still pieces with a classical vibe.

Well Done!

full of energy worth savouring.......2004-12-13

The artist is able to deconstruct the traditional image of harp as an instument. The texture and the hue of the music is rich and full of lustre. very creative and versatile.

Versatile virtuoso outshines musically uneven material.......2004-02-01

There's a reason Charles, Prince of Wales, revived a long-dormant (since 1871) tradition and presented Catrin Finch a Royal Appointment as his harpist. At age 23 she is a remarkable talent, with pristine technique and a fluency in the languages of both classical and contemporary music.

If only the material on her debut disc were equal to her talent.

While Finch is extraordinary, the music is a mixed bag of modern jazz/pop tunes, re-tooled classical favorites, and several hit-and-miss arrangements by Finch's musical partner, composer Karl Jenkins.

It's all starts and stops, ups and downs. In the jazz/pop genre, Dave Grusin's infectious "Mountain Dance" and the relaxed groove of Pat Metheny/Lyle Mays' "James" are perfectly suited for harp, while Chick Corea's "Spain" just never catches fire. Among the contemporary, experimental compositions, Jenkins' minimalist but tuneful "Harpers Bizarre" is far more interesting than Steve Reich's "Third Movement from Electric Counterpoint" - a tedious ostinato that never develops into anything. In a more traditional vein, "Crossing the Stone," taken from Jenkins' double harp concerto, is a rich, lovely setting of a Welsh folk tune, but two other selections from the concerto - "Eternal Dream" and "Caf? Vamp Latino" - don't relate musically at all. And while Finch, unaccompanied, is flawless on Bach's "Prelude from Partita No. 3," her performance of Handel's "Arrival of the Queen of Sheba" is marred by the decision to include some noisy Middle Eastern percussion, as is Debussy's "Clair de lune" by an intrusive, soporific voice-over.

On the upside again, Bach/Gounod's "Ave Maria" and the Welsh lullaby "Suo Gan" team Finch nicely with solo voices (though countertenor Terrance Barber's vibrato is perhaps an acquired taste), and Jenkins' "Thingamujig" is a fun, lively jig.

Concluding the album, the first movement of Jenkins' "Palladio" (featured for years in TV commercials for DeBeers diamonds) in a dull dance remix has none of the energy of the original version for string quartet and is a totally gratuitous inclusion.

From Finch's liner-note comment that "I've never really been stuffy about classical music ... I'm open to everything, really," it's apparent that some tracks are an attempt to make a "classical" instrument more accessible to listeners of contemporary music. Again, Finch is terrific, but listeners would be better served by a recording of the harpist that displays her virtuosity in a single genre - whether classical, contemporary or experimental - instead of this hodgepodge.

Give the performer five stars, the material two, and look forward to hearing this talented young artist for many years to come.

A Towering Musical Achievement.......2003-10-29

While biographies disguised as reviews are tiresome, some background is in order, in this case. At the age of 23, Catrin Finch has been playing the harp for 18 years. She was appearing on British television and with major orchestras by the time she was 10, and was appointed the Royal Harpist to HRH The Prince of Wales (a.k.a. Prince Charles) at the age of 20. Bottom line: This lady has more than enough credentials to be regarded as a major musical talent.

But does having a long list of credentials translate to making a great album? In this case, you bet it does. On "Crossing The Stone," Catrin Finch combines piles of technical expertise with surprising and even stunning musical choices. Sure, she covers classical music (such as Bach's 'Prelude from Partita #3' and Handel's 'The Arrival of The Queen of Sheba') brilliantly, but you'd expect that from an alumnus of The Royal College of Music. But would you expect to hear a piece by jazz pianist Dave Grusin done on the harp? How about music by guitarist Pat Metheny, or a Chick Corea composition?

Catrin Finch is an incredible talent, and she has created a beautiful, eclectic album that demands (and will receive) repeated listening. Unfortunately, it's also an album that you probably won't find in your local music store. This album has not received a lot of publicity, and I have yet to walk into a CD store and find it sitting on the shelf. Save yourself a lot of tedious shopping: buy it here and now.

Beautiful Harp Album.......2003-08-26

I first heard Catrin Finch on a free sample CD I received and when I listened to it, I couldn't believe that the instrument that she was playing was the harp! It was so vibrant and full of life. It felt like I had opened the windows and let the sun shine in. The harp is the world's oldest - and most difficult instrument, but in Ms. Finch's power it is sounds both contemporary effortlessly played. It is a wonderful buy for any appreciate of music, and the most electric harp album ever produced.

Average customer rating:

A Great modern Jazz album- Beautiful & Timeless
Mixed bag
Thought, mood and emotion provoking
Brilliant ,but .........approach .....with..... Caution
dissapointed

Street Dreams
Lyle Mays
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music

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General | New Age | Styles | Music

General | Adult Contemporary | Pop | Styles | Music

Adult Alternative | Pop | Styles | Music

4-for-3 Jazz | 4-for-3 Music | Stores | Music

4-for-3 Pop | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Lyle Mays
Solo: Improvisations for Expanded Piano
Fictionary
As Falls Wichita, So Falls Wichita Falls
Metheny Mehldau Quartet

ASIN: B00000G2QA
Release Date: 1998-12-22

Tracks:

Feet First
August
Chorinho
Possible Straight
Hangtime
Before You Go
Newborn
Street Dreams
Street Dreams
Street Dreams
Street Dreams

Customer Reviews:

A Great modern Jazz album- Beautiful & Timeless.......2007-04-13

Lyle Mays compositions are absolutely fabulous all albums are great.
The 2 first albums are similar in character and influence very beautiful modern jazz compositions. Lyle is supported playing with the greatest musicians. The other 2 more recent albums are quite different, yet very impressive work, in particular the "Fictionary".

Mixed bag.......2004-12-28

Speaking as someone who loves the Pat Metheny Group and Lyle Mays' playing in general, I'd have to say that this CD is a mixed bag. Some might find it a bit cheesy or trite. But when Lyle gets into his serious soloing he really shines. Sometimes sounds like he doesn't know exactly what he's trying to do - he tries to mix different jazz idioms - big band, electronic, fusion, etc., with occassional success. I would recommend his first album over this, but this one is a good "minor" addition to any Metheny/Mays collection.

Thought, mood and emotion provoking.......2004-10-14

Years ago, I walked into a music store wanting to stock up on a few items. The man behind the counter placed this blue and red bubbly looking album cover on the playing now stand and what happened stopped me dead in my tracks. Suddenly, the most beautiful music started filling the store and I stood in a stunned silence, seduced by one of the most beautiful songs, ever composed; "Before you Go." I then bought Street Dreams and Lyle Mayes, two albums I never tire of. Over the years they evolved to tapes and then to CDs. But I must say that Street Dreams, particularly the previously mentioned cut and the title suite, "Street Dreams," are stellar. I had a wonderful moment when I played "Street Dreams" at the Stroke of Midnight On New Years about 10 years ago. My friends, even the ones not into jazz, LOVED it. To this day, I love this entire album, because it truly takes me to another place

Brilliant ,but .........approach .....with..... Caution.......2004-04-27

I am a long time fan of Pat Metheny,and very well aware of Lyle Mays contribution to the style and success of PMG.I even had Lyle's first self titled album,so I thought I had some idea of what I was in for,in buying Street Dreams.Not so.I did not like it one little bit.I wondered what the hell it was that I had gone and bought.The most bizzare,off the wall,eccentric,and intensely dark album I'd ever heard.I played it 1,2,3,4,times,and no joy. It didn't click.
That was some 15yrs ago,oddly enough,I still have this album,and even more oddly,I love this album.It has grown on me over the years.Very Steely Dan'ish,with a whip-cracking horn section,and an absolutely stunning Chamber orchestra,with a very dark,other worldly,urban atmosphere to it.
Favourite tracks,well,Possible Straight with the "New York" sounding horn section takes the cake,as does track 10 from the Street Dreams title suite,the most spooky,evocative tune I have ever heard,with a "spine chilling,hairs stand on end, give you goose bumps" bass clarinet solo....Yikes!!!!!Give you the absolute shivers!!!
This is NOT a party , warm summer's day type album.You've really got to be in the mood for it,and you've really got to sit and listen, because there is just so much to it.Jam packed with brilliant musicianship,instrumentation,and arranging,and intriguing songs.
This is an album with a lot to offer if one is willing to take the risk and time.
I quietly, and hesitantly,....er...um....well.....recommend it.

dissapointed.......2001-11-29

The title of this review says it all. I enjoy most of Lyles'material and, for that matter, Pat Metheny but on this occasion I think that Lyle must have had a bad hair day, should have stayed in bed etc. You might like the album and that's great but it did nothing for me.

Tracks:

This Moment
Let Me Count The Ways
We Are All Alone
The Imperative
Procession
Black Ice
Origami
Lightning Field
Locked In Amber
Long Life

Amazon.com

Like his longtime cohort, guitar legend Pat Metheny, Lyle Mays never settles for simplicity. Any other pianist naming a project Solo might easily just play some lovely piano improvisations and leave it at that. But for his fourth solo recording, the longtime Metheny Group keyboardist boldly tries going where no piano virtuoso has gone before. His approach is so unique and risky, in fact, that one almost has to be a technician to appreciate the way he achieves such a rich texturing of ivory-key improv and MIDI orchestrations. Suffice it to say that this music doesn't sound like any other piano-based jazz project, and that it requires multiple listens to fully appreciate the combination of spontaneous composing and complex arrangements and production.

At times, Mays is very dramatic, then he'll switch quickly to the reflective, as he does on the opening track, "The Moment." He plays dramatic, harp-like flourishes, then eases into gentle impressionism that features occasional arpeggio bursts for emphasis. "Let Me Count the Ways" is a mood piece that rings like a sweet little New Age ditty due to the rare (for this project) inclusion of what seems like a real melody. "Procession" is also a rare gem here, a true melodic story piece created off the cuff. Metheny himself encouraged Mays to try a really long piece, and thus we can credit him for the pretentious "We Are All Alone." The tune begins with more than a minute of pure ambience, then ebbs and flows with a mix of graceful passages and potent glissandos--none of which create a melody or much to grab on to for more than 10 minutes. "The Imperative" is quite the opposite--a two-minute burst of pure, rambling energy that maximizes the percussive potential of the piano. The fire of this track helps balance the kindly but long pieces, such as "Long Life," that predominate. Jazz fans and those who appreciated Mays's previous work may at first scratch their heads over this one, but they'll likely join fans of more unrestrained piano explorations in ultimately digging it. --Jonathan Widran

Customer Reviews:

Takes some getting used to.......2005-02-06

Lyle functions best in the context of the Pat Metheny Group, and of his other album I only liked the first one, which (surprise) is the most similar in setup to the Group.

This Solo album has flashes of brilliance, but too much of it meanders without any point. If you're willing to take the time to listen to this many times, you might get something out of it, but it might be more effort than you're willing to give.

Not for everyone.......2004-04-17

I rarely write reviews of cds, but thought this one was interesting enough to spend the time to do it.

Take a look over the 28 other reviews and check out the stars that were given. Almost everyone gave this cd either 5 stars or 1 star. People either like this cd or hate it.

This cd shows a very advanced musician creating textures and melodies and atmospheres and moods at a very deep level. Another reviver actually said that this sounds like a little kid playing on the family piano with one finger?!?! I have no idea what you're hearing (or not hearing).

This is a very special and unique cd. If you're expecting it to sound like the Pat Metheny Group, than yes, you'll be disappointed. But if you want to be taken someplace new, this disk will take you there.

The music is very beautiful, free improvisations, with ethereal sounds, wonderful colors. This is what a genius sounds like when given free reign.

Piano and more.......2003-01-24

This is a great disc of piano improvisations by Lyle Mays and I am suprised that it is not held in higher regard (I only bought it on a whim myself).His piano playing is singularly beautiful, full of passion without being rowdy and yet as delicate as a first kiss.
His improvisations are tuneful and full of purpose.This is an album for music lovers.

What we were waiting for, and what we knew Lyle could do.......2002-07-01

There is often a tension between what an artist's own perception of his or her work is and how that work is received by the listener. This was the case, for me at least, with Lyle Mays's three solo efforts.

I remember reading an interview with Lyle in Keyboard magazine, right after "Street Dreams" came out, in which he expressed his supreme satisfaction with that album and said that his first, self-titled album was something just thrown together that he wasn't particularly satisfied with. Nothing could have come further from how I received the two albums against one another.

"Lyle Mays" has been one of my very favorite albums of all time since the day I was first exposed to it, and "Street Dreams" seemed less sincere and more fabricated by comparison. "Solo" taps again that rich vein that we haven't heard fully expressed since "Lyle Mays" - the beautiful, glassy piano textures, the ethereal backdrops of analog synth, the lyricism of a playing style that knows that it does not need to prove itself. To me, this is Mays at his best, and for those who preferred the arctic, "icy" sound over the urban, more Metheny-group-eqsue, this will be the album worth the wait of - what will it have been - 14 years?

Wonderful if you get it..........2001-10-18

While it is true that most of this was created spontaneously, it does not sound like it. It sounds more coherent than most of Keith Jarret's (I like him too) stuff. The subtle synth textures added later - taken from MIDI data from the original piano improvisations, really enhance the music. Lyle Mays is the greatest Jazz pianist/synth player alive IMO. This is a beautiful album. Not everybody gets it. That's OK - not all music reaches all people. I'm thankful for this album as I am all of Lyle's work. The audio blips online don't scratch the surface. Highly recommended to anyone who appreciates creative piano music.

Average customer rating:

Crossing the Stone

Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Jazz | Styles | Music

General | New Age | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00009L81Y
Release Date: 2004-02-23

Tracks:

Mountain Dance
Harpers Bizarre
James
Crossing The Stone (Tros Y Garreg)
Prelude From Partita No.3
Third Movement From Electric Counterpoint
Eternal Dream
The Arrival Of The Queen Of Sheba From Solomon
Cafe Vamp Latino
Spain
Buenos Aires Hora Cero
Clair De Lune
Prelude In C/Ave Maria
Thingamujig
Suo Gan
Palladio (1st Movement)

Album Description

At only 23 years old Catrin Finch is already being called the finest harpist in the world. Catrin is Harpist to HRH Prince Charles, The Prince of Wales (Catrin herself is a native of the Principality). Crossing the Stone is Catrin's first album for a major label, & is produced & arranged by fellow Welshman Karl Jenkins. The music on Crossing the Stone comes from the worlds of jazz, classical & world music, making it much more than 'just another harp recital'. 16 tracks. Sony Classical. 2003.

Average customer rating:

If you like the audio samples buy it
Very good but could've been better
Pretty Good
Partly great.......partly not so great.
Not his usual setting.

Fictionary
Lyle Mays With Johnson & DeJohnette
Manufacturer: Geffen Records
ProductGroup: Music
Binding: Audio CD

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Solo: Improvisations for Expanded Piano
Street Dreams
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Metheny / Mehldau
Metheny Mehldau Quartet

ASIN: B000000OT9
Release Date: 1993-03-16

Tracks:

Bill Evans
Fictionary
Sienna
Lincoln Reviews His Notes
Hard Eights
Something Left Unsaid
Trio #1
Where Are You From Today
Falling Grace
Trio #2
On The Other Hand

Customer Reviews:

If you like the audio samples buy it.......2006-12-03

I would like to add something, different strokes for different folks everyones taste are different there are reviews that get real analytical dont know if that was spelled correctly maybe I will receive a comment on my grammar what cracks me up are some of these review writers who act like they are beethoven or something half of them dont even play any instrument and have the nerve to pick apart album after album if they didnt care for the album or cd whatever why buy it lyle mays has played with some serious people metheny joni mitchell others i am even unaware of The cd was a good one ,relaxing ...follow your heart and the audio samples

Very good but could've been better.......2006-11-19

I've always considered Lyle Mays to be the unsung hero of the Pat Metheny Group and I've always wondered why, in comparison to Pat Metheny, he has released so few solo albums. Having read some of the reviews here, the picture is a little clearer, though I do feel it odd that a musician of Mays' skill, gravitas and experience would be influenced by the opinion of critics. I recall a line by the rapper Ice-T on the Quincy Jones album "Back On The Block": "Keep doin' what you're doin' man, Don't give a damn about squares who don't understand. You let 'em tell you what to say and what to write, Your whole career'll be over by tomorrow night."

I've always loved Lyle Mays' piano playing, personally. What I love the most about his sound is how crystal clear and precise it is. I remember some car adverts years ago that used to talk about German precision engineering. Well, Lyle Mays makes me think of precision. Brilliant improviser though he is, he still leaves me with the feeling that he knows exactly where every note is supposed to be and puts it right there. I liked his first album, the 1986 "Lyle Mays and LOVED the follow up, the 1988 "Street Dreams" so whatever the critics had to say about them, I beg to differ.

On this one - from 1993 - produced by Pat Metheny and Steve Rodby (the formidable bass player in the Pat Metheny Group), he goes jazz traditional and presents as a trio with legends Marc Johnson on bass and Jack DeJohnette on drums. That alone should've ensured magic but while there is magic to be found, the album for me, is very much hit and miss.

The hits include "Bill Evans", "Sienna", "Something Left Unsaid" and "Where Are You From Today". The two free improvisations, "Trio #1" and "Trio #2" are okay but the rest is just filler. Background music, if you will. Still, all said and done, it's a damn good album. It's just when one compares it to an album like "The Ground" by the Tord Gustavsen trio, one knows it is possible to have an entire album of beautiful tunes. I know Lyle can do it. For me, "Street Dreams" is faultless.

I'll always be fan though. I also got the 2000 album "Solo: Improvisations For Expanded Piano" and while it took a minute to get into, I now love it for its bravery and innovation. I just wish he would produce more albums!

While I think many may struggle to fall in love with every single tune here, I definitely think that any jazz fan (especially a fan of jazz piano in the trio tradition) will like this CD. It's definitely worth investing in. Yes, it is 13 years old but that's the wonderful thing about jazz: It doesn't age.

Pretty Good.......2006-07-03

I listen to a lot of music. Currently it's the only Lyle Mays (w/out Metheny) that I own. This album has some great moments, but his word with Pat Metheny is alot better. Fictionary is a great song, and Mays' rendition of Falling Grace is spectacular and it is amazing how they keep it together. The three musicians make a great combination, and you will not find this sound elsewhere.

Partly great.......partly not so great........2005-04-08

This cd is considered to be one of Lyle Mays' best two efforts, the other being the maiden release under his own name in 1985.I have none of his renowned electric collaborations with Pat Matheny although I'm sure I have him in recordings with other groups within my collection.

The talent of Lyle Mays and the other trio members is well known through many recordings. Lyle Mays, besides being exceptional on the acoustic piano, is equally gifted with compositional skills. The tribute to Bill Evans, my favorite cut, captures all of the style and feeling associated with his (Evans) playing. "Fictionary", "Sienna", "Hard Eights","Something Left Unsaid", and "Where Are You From Today" are excellent compositions and display not only Lyle's artistry at the piano but the fine bass work of Marc Johnson and the exceptional light touches on the drums by Jack DeJohnette as well.

That said, free style or avant garde has never been appreciated by me, probably indicating my lack of musical education or even a sophistication of taste. I feel that music is an emotional appeal to the individual and some of the tracks fail to make it for me. "Trio #2" is a good example of what appears to me as one big intro that goes nowhere! ("what are we going to play, guys?.....gee, I dunno....let's just play around.....maybe something will fall out!). "On the Other Hand" has some beautiful piano runs and fills but not much else.

This cd will probably appeal mostly to those fans who follow the musicians on this cd, those who appreciate some of the truly good compositions contained on this cd, and neglecting all else, excellent musicianship.

Not his usual setting........2004-12-28

Lyle Mays, as we all know, plays his best as a member of the Pat Metheny Group. He hasn't shown himself to be a great songwriter alone. His soloing and composition ability works best in the format of the Group, where Metheny is there to essentially guide him, or provide feedback since Mays is basically just a supporting role to Metheny's musicianship.

In my opinion Mays isn't great in a purely acoustic setting. He does great work with synths and layering them to get that tight, crisp "sound" he always nails. And his acoustic piano solos are great in the context of the acoustic-electric fusion of the PMG. But just by himself on a piano with bass and drums, Mays often seems lost. There are flashes of brilliance, but they are rare. I would recommend his other albums over this one.

Average customer rating:

Blast From The Past!
Impressive
Good Buy
Current, fresh, and it swings..
Hits both ends of the spectrum

Music of Pat Metheny & Lyle Mays
Bob Curnow
Manufacturer: Mama Jazz Foundation
ProductGroup: Music
Binding: Audio CD

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Metheny / Mehldau

ASIN: B0000018LY
Release Date: 1995-01-31

Tracks:

(It's Just) Talk
Always And Forever
The First Circle
Letter From Home
Are We There Yet?
If I Could
See The World
Minuano (Six Eight)
Dream Of The Return
Every Summer Night
In Her Family
Have You Heard

Amazon.com

Pat Metheny and his keyboard collaborator, Lyle Mays, have drawn on diverse sources for their music, combining folk, jazz, country, Latin, and world elements into a tuneful and often electronic mix. Bob Curnow is a veteran of the Stan Kenton Orchestra, and part of his avowed intention here is to set some of the Metheny and Mays compositions within the Kenton style. In keeping with that model, Curnow has assembled a very big band, 20 members strong with five trumpets and five trombones. It's an arresting project, and Curnow has successfully reconceived the Metheny work, substituting layered acoustic winds where electric guitars and keyboards were, enriching the textures and supplying orchestral breadth to what was once more intimate music. Metheny's prettier tunes, such as the ballad "If I Could," take on a Henry Mancini-like luster in this new setting. The sectional play is polished and energetic, and there are plenty of good soloists, including tenor saxophonist Rob Lockart, trombonist Chuck Hughes, and guitarist Paul Viapiano, who frequently provides a sonic bridge between the worlds of Metheny and Curnow. The sound is audiophile quality and the music provides a new look at both Metheny's music and the big-band tradition. --Stuart Broomer

Album Description

An amazingly successful translation of the inimitable compositions of the Pat Metheny Group into the idiom of big band jazz.

Customer Reviews:

Blast From The Past!.......2007-05-18

I played this arrangement of "The First Circle" in college jazz ensemble and it was one of THE highlights of anything we played. The clapping part was really fun, and it changes time signature every few measures so it was wicked difficult too. Wow, I remember combing the CD stores looking for this gem back before Amazon existed!

What great, great charts these are by Curnow, and Mays, two amazing musicians. And these are some of Pat Metheny's best, Minuano and Letter From Home are also standouts. Flat-out fantastic modern big band writing, absolute TOP recommendation.

Impressive.......2006-09-24

Hearing Metheney's tunes in a different context, apart from his guitar and Mayes' ubiquitous synth, really helps you to appreciate what strong, memorable themes Metheny writes. And Curnow's arrangments are first rate; he knows just what voice to assign where. The result is classic big band sound with some of the hippest tunes ever arranged for that settings. Listening to this makes me wish I was still in my high school big band, so that I might get a chance to play some of Curnow's charts!

Good Buy.......2006-03-17

I really enjoyed this CD. I love the music of Pat Metheny and the big band arrangements on the album are great. Personal favourites are "Minuano" and "Have You Heard." Reccomend for anyone that enjoys a more serious big band and not the poxy Glenn Miller sound.

Current, fresh, and it swings.........2005-05-15

This is a rich CD that you can listen to over and over again.
My favorite is Always and Forever where Bobby Shew's flugelhorn is funky and beautiful. Every Summer Night is light and interesting with a rhythm that moves it along. In Her Family is haunting.
The rhythms and orchestrations still sound fresh after over a decade.
Although I have not been a Pat Metheny fan nor a fan of the guitar in jazz, this music goes beyond just soft jazz that one hears in an elevator...
Is it a curse or a blessing that jazz is being picked up for background use? Just when we thought younger listeners would delve into the richness of Miles, Ella, Kenton, Gil Evans and Basie after being exposed to jazz, I hear it dismissed as dental office music !!
This is a richly orchestrated CD that supplies a strong background for soloists like Shew and Bill Cunliffe.
One can hear Curnow's roots in the Kenton orchestra and as has been mentioned before.."Is this CD what Kenton might have been doing now?"
Incredibly interesting rhythms and a great rhythm section to execute them.

Hits both ends of the spectrum.......2005-01-23

On a first listening to this cd, it was wonderful, and gets a bit better each time you re-listen.

Most of the charts were good, some, like Minuano, Dream of the Return and In Her Family were excellent.
The one that really blew me away was If I Could, which doesnt suffer at all compared to the original Metheny version.

I did find some VERY lacking. Letter From Home, which was always my favourite ballad from the original album, has absolutely no feeling in it. It seemed straightforward, and very dead, missing all the emotion Mays put into it.

Overall great arrangements by Curnow, and with the exception of Letter From Home, an Excellent CD. I would reccomend buying it.