charlie said with such grace ashe always does he often in listning to miles felt life so deep;y hed be moved to tears. Thats and ear that allows him to play himself and his voice on same level becaus gives me same chills,gooseumps, emotions as miles favorite ballads imo. Hes just such a great example of a wonderful person who happens to be able to play with zero restriction in expression. This is gorgeous they both look up after knowing it was a moment. Those two chords pat plays towards end of chalie's lead just gives me chills their listening skills or just skills are instantly recognizable. Pat playing at 18 with steve swallow and company already at insane level when he was teeneager he was Mike sterns music teacher at berkley :) thank you for posting charlie like all masters of bass knows exacty what not to play to fill the sound perfectly and rovide surprise all the true greats can do that on upright. Mingus, chambers, carter, peacock garrison and workman for coltrane
first notes of Charlie's bass solo I yelled out "fucking hell" involuntarily. beautiful. I used to think of him as a "crude" player, just making this beautiful sound but not really sophisticated but I was so wrong. He's just so lyrical but also playing beautiful, intricate stuff.
Seeing Charlie play with Q West was so amazing. Laurence on drums played a solo that made me cry. Everyone was so great and the sound came together beautifully. Such is the case hear. My listening changes when cats like these 2 play. Charlie wasn’t afraid to develop a solo. He’s not in a hurry. Fuck time just play…..❤❤
I just viewed Blue in Green from Pat Martino live in a piano duet situation (interestingly, from the same year - 2009). I was interesting to compare the two approaches and performances. Both of them are great, of course. ua-cam.com/video/axiF7tarD24/v-deo.html
It would've been perfect with a little higher volume on guitar, the predominance of bass doesn't create the right chemistry for this particular piece. I know he's a maestro but bass should always work as an hidden backbone and there it's almost irritating
If you're a musician I'm surprised. I'm 65 and a professional jazz pianist and the 1st thing I was taught is that one must listen from the bass and it's all important function if you expect to understand architecture in music. It's more than accompaniment in fact that's a pretty deceptive and incorrect word.
I agree that the bass is a little hot in the mix, but I doubt that has anything to do with Haden. Unless it was recorded by ambient house mics, which it doesn’t sound like it was, complaints should more appropriately be directed to the sound engineer. But really, you’re getting one of the most beautiful songs ever written (btw, written by Bill Evans not Miles Davis), performed by two of the most talented musicians ever. Complaining about it feels a bit like complaining about the proverbial free lunch Think about the old Dean Benedetti recordings of Charlie Parker. (Literally) almost unlistenable sound quality but every jazz musician Is able to get past that irritation and ends up eternally grateful for their existence Edit: I commented before Metheny started taking off in his solo. I take it back about the mix. Once that happens the levels are just fine
@@sbmcgonagle9671 It never ceased to amaze me Charlie Hayden's wealth of melody. Something not lost on Ornette or Keith Jarrett or Pat Matheny. All accomplished without particularly leaning on technique. I always want him easily heard with that giant 7/8 size bass.
the bass enhances the piece as far as i'm concerned. have you ever listened to any Keith Jarrett with Gary Peacock on bass? The bass is mixed very prominently and the music soars, in my opinion. There's no correct answer to the question of where the bass should sit in the mix, but rather a personal preference. I like my bass articulate and clear, but i'm a bassist, so admittedly biased.
![[라이브 영상] Charlie Haden & Pat Metheny - Beyond the Missouri Sky LIVE](http://i.ytimg.com/vi/QXAJ4_v41d4/mqdefault.jpg)
![Chet Baker LIVE Blue in Green [HD]](/img/n.gif)
I thought the volume of the bass was just fine. One of the best Metheny-Haden pieces I’ve ever heard. Superb.
You always know where one is with Charlie....RIP Maestro x
That Haden solo is up there as one of the best I heard..
I agree.
Grande Mr .Haden !!!
My favorite theme in the book. I didnt know they covered it during those tours... What a wonder !
Thank you for having saved this 🙂
Due geni della musica ,bellissima versione di questo blues
blues....
@@riccardobrazzale4264 .........
charlie said with such grace ashe always does he often in listning to miles felt life so deep;y hed be moved to tears. Thats and ear that allows him to play himself and his voice on same level becaus gives me same chills,gooseumps, emotions as miles favorite ballads imo. Hes just such a great example of a wonderful person who happens to be able to play with zero restriction in expression. This is gorgeous they both look up after knowing it was a moment. Those two chords pat plays towards end of chalie's lead just gives me chills their listening skills or just skills are instantly recognizable. Pat playing at 18 with steve swallow and company already at insane level when he was teeneager he was Mike sterns music teacher at berkley :) thank you for posting charlie like all masters of bass knows exacty what not to play to fill the sound perfectly and rovide surprise all the true greats can do that on upright. Mingus, chambers, carter, peacock garrison and workman for coltrane
Don't forget Bill Evans who wrote the song!
and Peace Piece@@HenritheHorse
90% Bill, 10% Miles.
first notes of Charlie's bass solo I yelled out "fucking hell" involuntarily. beautiful.
I used to think of him as a "crude" player, just making this beautiful sound but not really sophisticated but I was so wrong. He's just so lyrical but also playing beautiful, intricate stuff.
5:30 to 5:50 is just jaw-droppingly beautiful
You can tell Pat is really digging this
Seeing Charlie play with Q West was so amazing. Laurence on drums played a solo that made me cry. Everyone was so great and the sound came together beautifully. Such is the case hear. My listening changes when cats like these 2 play. Charlie wasn’t afraid to develop a solo. He’s not in a hurry. Fuck time just play…..❤❤
SMH ! Music appreciation at its best , well done gentlemen!
Good grief! Thanks for sharing this. I’ve never heard or seen them playing this before.
Loved it 😎
Virtuosisno assoluto❤
Metheny is one of my favorite smooth jazz musicians.
Pat mettent and Charlie haden belle ballade
Pure class
Hier Pat Merheny ohne Synth. Schnickschnack, gefordert vom besten Bassisten der Moderne.
❤❤❤❤❤❤❤
🙏❤🌹 Charlie 🌹❤🙏
🎶🎵🎶🎧❤❤
❤❤❤❤❤❤❤ deep ❤❤❤❤
Coulda sworn Pat said he hates when musicians have sheet music on the bandstand. Wants more organic. But it is Charlie. Amazing still.
4:49
The funny thing, is I always thought this was the best track listing on kind of blue and it not being modal.
Pat's single note lines seem to have an uncharacteristically gritty/hint of overdrive here. I think it works beautifully in this setting.
I just viewed Blue in Green from Pat Martino live in a piano duet situation (interestingly, from the same year - 2009). I was interesting to compare the two approaches and performances. Both of them are great, of course. ua-cam.com/video/axiF7tarD24/v-deo.html
Charlie has a Chart in front of him
彼等ならオリジナルに迫れます。🙄
It would've been perfect with a little higher volume on guitar, the predominance of bass doesn't create the right chemistry for this particular piece. I know he's a maestro but bass should always work as an hidden backbone and there it's almost irritating
If you're a musician I'm surprised. I'm 65 and a professional jazz pianist and the 1st thing I was taught is that one must listen from the bass and it's all important function if you expect to understand architecture in music. It's more than accompaniment in fact that's a pretty deceptive and incorrect word.
I agree that the bass is a little hot in the mix, but I doubt that has anything to do with Haden. Unless it was recorded by ambient house mics, which it doesn’t sound like it was, complaints should more appropriately be directed to the sound engineer.
But really, you’re getting one of the most beautiful songs ever written (btw, written by Bill Evans not Miles Davis), performed by two of the most talented musicians ever. Complaining about it feels a bit like complaining about the proverbial free lunch
Think about the old Dean Benedetti recordings of Charlie Parker. (Literally) almost unlistenable sound quality but every jazz musician Is able to get past that irritation and ends up eternally grateful for their existence
Edit: I commented before Metheny started taking off in his solo. I take it back about the mix. Once that happens the levels are just fine
@@sbmcgonagle9671 It never ceased to amaze me Charlie Hayden's wealth of melody. Something not lost on Ornette or Keith Jarrett or Pat Matheny. All accomplished without particularly leaning on technique. I always want him easily heard with that giant 7/8 size bass.
@@paxwallace8324 I agree entirely!
the bass enhances the piece as far as i'm concerned. have you ever listened to any Keith Jarrett with Gary Peacock on bass? The bass is mixed very prominently and the music soars, in my opinion. There's no correct answer to the question of where the bass should sit in the mix, but rather a personal preference. I like my bass articulate and clear, but i'm a bassist, so admittedly biased.