Customer Reviews

80-81 (Comp)

5 star:		(11)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I remember buying this album after playing a gig, and going to Tower Records to pick out a CD with my earnings. The Pat Metheny Group Album "The Way Up" had just been released and my friends were raving about it. So I went into the record store with the hopes of getting a Pat Metheny record. The only problem was, first I had no idea what he sounded like, and secondly, there were no sax players on his new release, which is not a bad thing, but I was in the mood for some powerful sax playing. So I got this album 80/81 because it had two unique sax players. From there...

I played the first disc and was immediately captivated by the simple yet honest chord stumming of Pat Metheny on the acoustic guitar. It immediately evoked images of corn fields, the midwest, driving down Highway 5 in California, etc. And then Mike Brecker entered with his gorgeous tone to state the melody. I had not even left the parking lot and I was ecstatic. Then comes Mike Brecker's solo...I know many listeners dislike Mike Brecker because of his perfect technique, and his tendency to repeat these phrases. But hey, most musicians do that. It depends on what you listen to by the artist. Many also accuse Mike Brecker of lacking emotion in his technical solos. But his solos on this record should lay all of those claims to rest. This album was recorded early on in his career, and his solo on "Two Folk Songs" ranks among one of my favorite instrumental solos of all time, and it certainly is one of his most creative. He does not opt for lightning fast runs, but instead develops his ten minute solo around the overtones of the tenor sax, soring in the altissimo range. It is almost like a bird flying over the country, swooping down close to the ground when Mike Brecker leaves the overtone range to catch his breath in the lower register, then skyrocketing back up well above the ground. From a technical standpoint, his solo is outrageous, but from the standpoint of emotional conviction - that is where Mike Brecker's solo really shines. His devopment, his emphasis on rhythm, his choice to bypass any sort of "normal" solo in the normal saxophone register, and his tone all contribute to this extremely powerful solo. It is on the wild side if you are new to jazz, but there is a strong sense of rhythm and simplicity, something most contemporary jazz musicians I have found lack. Instead of playing every chord under the sun to "support Mike Brecker and lead him on", Pat Metheny just strums the same three chord pattern with the same rhythm as does Charlie Haden and they just let Mike Brecker fly free - of course with Jack Dejohnette lending constant rhythmic support. A drum solo follows the tenor sax solo, then a bass solo that feeds into a slower tempo than the opening tempo of this lengthy track. Pat Metheny takes over and plays a simple yet poweful solo that shows that he is very well capable of expressing himself just as well as Mike Brecker. No lame jazz licks, just pure creativity. The song just fades out leaving the lasting impression of the environment, landscape, and culture that inspired the composition. A true masterpiece. Following this tour de force are a few staight ahead boppish tracks that are fine, but to me, they are no where near as powerful as the opening twenty minute magnum opus. That is not a bad thing, they just get less playing time because of the opening track. Dewey Redman takes over the sax chair for these tunes. On the second disc, Mike Brecker and Dewey Redman share some solos together - the compositions are upbeat and have a content feeling, something far different than "Two Folk Songs", which has an upbeat, yet mournfull and sad feeling. But the composition "Everyday I Thank You" is another tour de force. This again features Mike Brecker in a truly masterful solo, equal to the opener of the entire album. The tune is gorgeous. It is in essence a rock ballad that goes into a steady beat and time feel after a rubato introduction. The quality of Mike Brecker's solo is matched again by the perfect support of the rhythm section. Pat Metheny comps in a rythmic yet un-encroching way. The album closes with a peaceful Pat Metheny solo guitar composition. A perfect close to a masterful album. Mike Brecker shines, but nevertheless, Pat Metheny plays equally as brilliant as do the rest of the musicians. This album is perfect in my eyes and worth the money for just the three tunes I mentioned, the twenty minute "Two Folk Songs", the thirteen minute "Everyday I Thank You", and the three minute solo guitar tune "Goin' Ahead". A perfect album to listen to when driving for long distances, and a great album that evokes powerful thoughts. Give it a try. I did and I love it.

The heading for this review regards your time, your money and Metheny's approach -- only five years into his solo recording career he got right down to business of fulfilling his dream to both pay tribute to and play with Ornette Coleman. The former is done both on this cd and on (the 1984 recording) Rejoicing, the latter on (the 1986 recording) Song X. But, possibly, the most moving music of the three is achieved here. Here he has compiled former Ornette band mates Dewey Redman (tnr sx) and Charlie Haden (bs) with sympathetic musicians Jack DeJohnette (drms) and Michael Brecker(tnr sx, too). The results are impressive. From the Coleman authored "Turnaround" and the "open" jazz of "Open," to the tightly arranged and simply stunning "Every Day" (my friend calls it an "orgasmic" song as the tension builds and builds to its release) and the solo acoustic of "Goin' Ahead" which is better than anything on New Chautauqua (I'm not knocking that cd, but this song is superior in all respects to the music thereon). Pat Meth did not squander this opportunity and, by clicking "buy it," you won't squander yours either.

This 2-CD set (don't get the single CD; it leaves off a few cuts) was a real eye-opener when it came out in album form almost 20 years ago. I hadn't listened to Pat Metheny previously but I became an instant fan the moment I heard the opening "FOLK SONGS I & II." Much of the credit has to go to the support Pat gets from this stellar lineup. By turns furious and gentle, there's a lot to like here and it's unfortunate these guys didn't get together again but you can listen to this over and over. By the way, I made the mistake of buying the single CD when it first came out and didn't realize they left off a few tracks so beware. Otherwise, buy the 2CD set. Either way, you won't be disappointed by the music!

This 2-CD set (don't get the single CD; it leaves off a few cuts) was a real eye-opener when it came out in album form almost 20 years ago. I hadn't listened to Pat Metheny previously but I became an instant fan the moment I heard the opening "FOLK SONGS I & II." Much of the credit has to go to the support Pat gets from this stellar lineup. By turns furious and gentle, there's a lot to like here and it's unfortunate these guys didn't get together again but you can listen to this over and over. By the way, I made the mistake of buying the single CD when it first came out and didn't realize they left off a few tracks so beware. If they've corrected this by squeezing everything onto one then definitely buy it; if not, check to make sure ALL the tracks listed here are on it. Otherwise, buy the 2CD set. Either way, you won't be disappointed by the music!

Pat Metheny is a fascinating musician. There is no question about his skill as a guitar player, but a lot of critical listeners, including myself, have questioned his musical tastes. His pop instrumental music is well made and stands head and shoulders above smooth jazz in general, but from a jazz perspective it's usually pretty bland. However, he's very popular doing it, and it must pay the bills because it makes possible the release of music that no other commercial artist seems to have the guts to tackle. '80/81' is an enticing doorway into that part of his career, for both those who who love and hate his commerical work. A nice stripped down sound, free of electronic washes, some great collaborative musicians who frequently outshine Metheny himself, and the taste of Ornette Coleman to come! Haden is a sympathetic partner to both Pat and Jack DeJohnette, and their mutual tightness helps hold together a set that's perhaps a bit too long and diffuse, but with moments of pleasure and power. A great deal of pleasure is in the appearance of Dewey Redman, with his beautiful tone and relaxed, free style, still a more adventurous player than his son. And fusion refugee Michael Brecker is a surprise. The guy has always had amazing chops but more of an inclination to show off then to say anything interesting. His solo on 'Everyday I Thank You' is absolutely magnificent and worth the price of the recording alone.

An excellent set with a stellar cast. Metheny is always at his best when he is outside his "Group." Here both Brecker and Dewey Redman shine. (Brecker always seems a little better when Metheny is around) Two Folk Songs is a great track that looks ahead to Haden and Metheny's later collaboration. There are a couple of "out" tracks (usually with Redman) that weren't included on the original 1 cd release.

A real modern jazz session, and quite different from Pat's group efforts. Gone was Lyle's sparkling play, and this record is raw! I'd love to know what Pat thinks about it now. It foreshadowed several other projects with Haden, Brecker (GET THAT ALBUM!) , Coleman, and Dewey Redman's son, Joshua. Buy it!

Just purchased this to round out the Metheny collection. Never had it on vinyl. I keep comming back to "Two Folk Songs" and "Goin' Ahead" as my favorite tracts. Mike Brecker cooks on tenor sax on Folk Songs. This is more of a traditional jazz recording but Pat's guitar has his trademark sound that is instantly recognizable. At times the music is abstract and a little challenging, but thats what jazz is all about. This is a great combination of all the best in Metheny. Essential for any true fan.

This is Pat in a truly jazz setting. There are no overdubs, no thick productions (ala later Pat Metheny Group recordings), and no hooks--and no keyboards. (Lyle Mays, not a jazz improvisor, could not have survived this date.) Two of the players--Dewey Redman and Charlie Haden--were bandmates with Ornette Coleman. They know how to get "outside" while remaining in sync with the group. Pat's playing (circa 1981 is satisfying), but not as rich and energized as it can be today (such as on "Pat Metheny Trio, 99-100"). Of course, a less mature Pat is better than 90% of the "mature" jazz guitarists out there. Jack D.'s drumming is always creative and apt.

A real modern jazz session, and quite different from Pat's group efforts. Gone was Lyle's sparkling play, and this record is raw! I'd love to know what Pat thinks about it now. It foreshadowed several other projects with Haden, Brecker (GET THAT ALBUM!) , Coleman, and Dewey Redman's son, Joshua. Buy it!