Customer Reviews

Fictionary

5 star:		(8)
4 star:		(4)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

As an amateur pianist of 30+ years I am attracted to good keyboard music of all varieties and owe many thanks to a host of "ivory heroes". In my opinion Lyle Mays ranks among the top tier and I am continually surprised that my view is not widely held. In the trio setting of Fictionary he is able to show off his many artistic talents to perfection. The pieces showcased on this CD are technically challenging, full of intelligence and broad in concept. Some are deceptively simple in their lyricism and subtlety, others full of jagged dissonance and charged with energy. Throughout, the tonal pallette and keyboard approach are uniquely Maysian. In this very full CD there are very, very few wasted notes. Lyle's music-mates are absolutely top rank and play as if they have made music together for years. This CD reveals itself the more you play it and my fervent wish is that Mr. Mays applies himself to recording more acoustic trio CD's. This one is a gem.

Surely one of the most talented pianists and improvisers around. Lyle's beautiful touch is clearly evident on "Bill Evans", with the piano sounding exactly the way Evans himself would have played the composition, but yet with the overtones of Mays' distinctive unscalic, melodic ideas. From the completely improvised trios to the funky "Hard Eights", this album oozes funky chords, beautiful melodies, thoughtful improvisations, and virtuosity by the bucketload. One of my favourite jazz trio albums!

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.

This CD is Beautiful and a joy to listen through from the first track to the last. The sound is very full and natural.

His sound is truly jazzy, I have never heard of this kind of music played by Lyle. But now I know - he is greater than only a member of PMG group - he is one of the best jazz music composer and piano player. I am proud of being his fan. With help of two other wonderful musicians he made album that no one can miss.

I think we have on this album the pure sense of jazz music .Lyle and his supporting friends(de johnette and johnson) did a great job .I've been listening to Lyle and Pat for 10 years and with all my satisfaction

Lyle, not only on this album of impeccable beauty, but also when playing with his other half - Pat Metheny - stirs to life places in my soul that give rise to goose bumps and visions of sites not visited often within my consciousness. For me I travel to places within...whenever his genius is channeled through his fingertips onto ivory keys. Man - o man can he play. He either stirs you or not. There is no in between. Enjoy this album!!

The way i look at Lyle in this cd , is that if Bill Evans was alive today , this is the way he would play and sound . More than Melhdau . More than Elias . More than Rubalcaba . More than Michel Camilo . I know it sounds kind of disrespectful to compare , but , hey , this is the way i feel . Great performances , tact , touch and timing ... Just Love it ...

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.

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.