Pat Donohue 2011 Nobody's Fault

With 100 hit tracks spanning five discs, this budget set, which has a decided British lean, has no real discernible theme, but features plenty of rock and pop classics like Gerry Rafferty's "Baker Street," Glen Campbell's "Wichita Lineman," Steve Miller's "Fly Like an Eagle," Poison's "Every Rose Has Its Thorn," Al Stewart's "Year of the Cat," and the Band's "The Weight," as well as British hits from the Buzzcocks, the Ruts, and the Waterboys.

Guitarist Pat Martino's second recording as a leader finds him essentially playing advanced bop. His quintet (with Joe Farrell on tenor and flute, pianist Cedar Walton, bassist Ben Tucker and drummer Walter Perkins) really roars on an uptempo version of "Minority" and is diverse enough to come up with meaningful statements on four of Martino's originals.

Guitarist Pat Metheny had long expressed admiration for Ornette Coleman's music, had recorded his compositions, and had worked extensively with bassist Charlie Haden, so a collaboration was not totally unexpected, though who would have guessed that it would be on the Geffen label? Metheny's almost rock star status has worked against him in other partnerships from time to time (notably, his overbearing playing on his project with Derek Bailey, The Sign of 4), but here he happily sublimates his showier instincts and works as sympathetic co-leader, deferring to Coleman's experience and genius.

When this album was released in 1994, it shocked casual, and even some hardcore, Metheny fans. Recorded in one day, Zero Tolerance for Silence can best be described as semi-organized noise…

Gravity's Rainbow is the ninth studio album and tenth album overall by American singer Pat Benatar. It was released in 1993 on Chrysalis Records. The album is named after, though bears little other relation to, the Thomas Pynchon novel of the same name. It peaked at No. 85 on the US Billboard 200. Gravity's Rainbow would be Benatar's last studio album recorded for Chrysalis.

This live American concert in 1992 emerged on cd at about the same time as the Geffen release "The road to you" which was culled from PMG's european concerts in the early 90's. While this current selection may not quite equal that release in the quality of the sound, it is a much better live performance overall. There are a couple of small blips in the performance but this is live and taken from one concert. Raw Metheny but edge of your seat performance.

Here you have three absolutely breathtaking jazz performers locked into a studio for a day or so. From this combination of guitar, standup bass, and acoustic drum kit, you've got nine tracks of sheer jazz joy – three guys just blowing for the hell of it, recorded on the fly. There's a strong sense here that engineer Rob Eaton probably tried to get everybody properly set up and balanced before the session started and just gave up when everybody started playing. It's a delight to hear, because everything has gone into the performance, which is spontaneous and graceful – no going back for the next take here. Pat Metheny's playing is definitely modernistic, highly fluid, almost liquid lightning – no effects boxes here, though (he does play Synclavier on the last track, "Three Flights Up," but it's great anyway). Roy Haynes, likewise, should be heard by anybody wanting to get behind the traps: this man has a sense of humor, and he's a blur of motion. Dave Holland, on bass, is no slouch either, keeping pace with Metheny's guitar lines, and balancing up against Haynes' drums. Together, these guys are incredible.