John Scofield - 1992 "Grace Under Pressure"

Grace Under Pressure is a studio album by jazz musician John Scofield, featuring guitarist Bill Frisell as a co-lead voice.

ohn Scofield and Bill Frisell, two of the most distinctive guitarists of the 1990s (they previously fronted Marc Johnson's band Bass Desires,) team up on this quartet date with bassist Charlie Haden and drummer Joey Baron. While Scofield contributed all ten originals, Frisell with his wide variety of sounds and eccentric solos often comes close to stealing the show altogether. Five of the ten numbers add a three-piece brass section for color. The interplay between the two very different yet complementary guitarists is notable. 

Fantastic John Scofield set. This was my first John Scofield purchase after having had some exposure to him by way of Jaco Pastorius' instructional bass video and John Patitucci's solo album Sketchbook.

Overall, I think this is a fantastic album. John's writing is sometimes traditional, sometimes clever -- the opening track, "You Bet," is the first song I think I would ever describe as 'fun' -- but always smart and clean and easy to follow and listen to.

I get the idea that John was thinking outside of the box on this album, owing to his having Bill Frisell (guitar), Charlie Haden (bass) and Joey Baron (drums) back him, along with a small brass section on a few of the tunes. These guys each bring their own distinctive styles to the table and the result is a smorgasbord of rich sonic textures and unabashed musical adventure.

For those familiar with John's work before or after this disc, the music may surprise you. The first three numbers are fairly straightforward and are pretty much straight ahead jazz, but gears quickly shift when we reach "Scenes From A Marriage." Once the head is stated, Charlie and Joey kick into overdrive and John just goes with the flow and keeps right up with them even though he probably has no idea where they may be going. John wraps up his solo and Bill takes the cake by beautifully playing a variation on the main theme while Charlie and Joey switch to a more free jazz backing.

Then Bill stomps on the gas and switches to his distorted sound and provides his own loops in the background. He gets crazy with the theme and then brings it back down a notch by providing an ethereal ambience while John restates the head. Charlie and Joey then break off to do some free jazz and then the whole gang comes back in to wrap the tune up.

"Twang" is a blues-inflected swinger and "Pat Me" -- a nod to Pat Metheny -- gives Bill the chance to showcase his acoustic skills. "Pretty Out" is musical mayhem waiting to happen and Bill certainly doesn't disappoint on this tune, either. This song, however, may wear on some people and even John has a hard time getting the rest of the guys back on the same sheet to restate the head. They finally do it and Bill's ending loop -- which fades out to end the track -- is picture perfect and is wonderfully accentuated by Charlie's unchractersically laid-back bass with John's overchorused chords floating above them both. The mental picture I get just from the sound of it is like picking up a far-away radio broadcast with an old transistor radio.

Up next is "Bill Me" and gives Bill some room to stretch out. After that is "Same Axe." It's a short tune built around a typically Scofield A-A-B-A riff and both guitarists solo simultaneously before restating the head and ending the tune. "Unique New York" is the quietest tune of the bunch -- and the only one with a tongue-twister as a title -- and as the closing song on the album, it's definitely in sharp contrast to most of the rest of the tunes in this set, kind of like a sonic sorbet to cleanse the palate.

All in all, I think this a classic disc. While John almost seems to be overshadowed by the likes of Bill and Charlie at times, with their preponderance for running out into left field, he manages to rein them in when needed and is actually pushed by their musical experimentation to try some new and different stuff himself.

A must-have for either the serious Scofield fan or the serious Frisell fan.

I'm surprised that there are only a handful of reviews here. In my opinion, Scofield's CDs of the early 90s will someday be considered jazz classics. ("Time on My Hands", "Meant to Be", "What We Do", and this one.) The writing is top-notch, original, and quite often brilliant. The playing is inspired, cohesive, and virtuosic. The line-ups are amazing. On this album, Bill Frissell is just the perfect complement to Scofield's playing -- smooth to Sco's angular. His solo on "You Bet" is one of those rare pieces of improvisation that sounds truly composed. Charlie Haden is, well, Charlie Haden. Superb. Joey Baron, on drums, is a great choice to glue together these quirky tunes and musicians -- he's a very, very interesting (and excellent) player. Scofield is, as usual, totally in the pocket.
The tunes here are, to be honest, not overall my favorite of Scofield's. "You Bet" is brilliant; "Bill Me" as well. Sco's foray into horn arrangements is a nice touch, but strikes me as experimental here, and overlayed rather than integral. (A bit tenuous, too, come to think of it.) I think he's at his best when he's more minimal in his arrangements.
If you're not familiar with Scofield's work of the early 90s, check out "Time on My Hands", and if you like that, definitely give this album a spin.  

Track listing

All tracks composed by John Scofield

    "You Bet"
    "Grace Under Pressure"
    "Honest I Do"
    "Scenes From A Marriage"
    "Twang"
    "Pat Me"
    "Pretty Out"
    "Bill Me"
    "Same Axe"
    "Unique New York"

Personnel

    John Scofield - electric guitar
    Bill Frisell - electric & acoustic guitars
    Charlie Haden - bass
    Joey Baron - drums

On 3,5,6,8,10:

    Randy Brecker - flugelhorn
    Jim Pugh - trombone
    John Clark - French horn

John Abercrombie and John Scofield - 1984 [1996] Solar ''the bebop album''

Solar is a studio album by jazz guitarists John Abercrombie and John Scofield. It was initially released in 1984 by Palo Alto Records and reissued in 2001 by West Wind.

Guitarists John Abercrombie and John Scofield join forces for these early-'80s sessions, mostly duets while occasionally adding bassist George Mraz and drummer Peter Donald. They delve into the jazz canon with an intricate duet of "Solar," a driving, Latin-fused take of "Four on Six" (in which Abercrombie overdubs an electric mandolin), and a dreamy duo interpretation of "If You Could See Me Now." The sole standard, "I Should Care," fares just as well in their hands, which settles into a relaxed exchange between the two players as if they are playing for themselves alone. Scofield's "Small Wonder" is scored for the quartet, a bristling post-bop vehicle with a feature for Mraz as well. Abercrombie's introspective "Sing Song" best contrasts the styles of the two leaders, with the composer a bit more melodic and Scofield with a more brittle attack. This is an enjoyable CD that has stood the test of time very well.

I'm a huge Abercrombie fan and this album is one of my favorites. Scofield and Abercrombie dig down deep into some jazzy blues lines that make these two guitar players undeniably some of the most creative to ever play the guitar. Abercrombie is magical as always and Scofield is young, bold, and worthy to share the light with this jazz god. I feel like Abercrombie is passing the torch on to another generation. The album [Timeless] materialized the jazz-rock-fusion era by crossing boundaries and steering music into new directions (an unbeatable accomplishment.) This has been handed off to Scofield who has ever since been attempting to move jazz onto a new canvas.

Abercrombie was second only to McLaughlin among the guitarists of this epoch, to my taste; Scofield was not far behind. Both men had it over the great J Mac in that they played better with others. And this is a great interaction, not "two stars that can't play together", to quote Jelly Roll Morton. Figments of Pat Metheny are floating around here, and the harmonies are the harmonies we remember from Jarrett, ECM and the other masters of this period. I won't deny that there's a certain power of nostalgia at work here, but it's like a wine that never ages into superannuation.

A beautiful as the record was (original date was 1984, so I'm not sure whether it was issued on vinyl or CD - I have a cassette), it might have been stronger if all tracks had been dual electric, with no bass + drums. No criticism of those supporting musicians; just that my memory is a of a downright magical guitar duo.

This duo works as well together as Herb Ellis & Joe Pass, with the same amount of skill and taste. Definitely great listening at home, relaxing after a long day at work. The mood is subdued yet warm and enveloping. This makes me wish that they had worked together for more than just this one disc.

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Track listing:

1.    "Solar"    Miles Davis    4:10
2.    "Even Steven"    Abercrombie    6:51
3.    "Four on Six"    Wes Montgomery    6:25
4.    "Sing Song"    Abercrombie    6:22
5.    "Small Wonder"    John Scofield    6:21
6.    "I Should Care"    Sammy Cahn, Axel Stordahl, Paul Weston    6:39
7.    "If You Could See Me Now"    Tadd Dameron, Carl Sigman    6:02
Total length:    42:35

Personnel:

    John Abercrombie – guitar, electric mandolin, co-producer
    John Scofield – guitar, co-producer
    George Mraz – bass
    Peter Donald – drums

John Scofield - 1989 "Flat Out"

Flat Out is a studio album by jazz guitarist John Scofield. It was recorded in December 1989 and his sixth and last release on Gramavision.
The album marks a shift from his latter funk oriented fusion recordings to hard swinging tracks with "almost bobbish" solos and a new focus on New Orleans rhythm and blues covering two songs by The Meters and Huey "Piano" Smith and an original with a second line groove ("In the Cracks").
The quartet featured Don Grolnick exclusively on Hammond B-3 organ, double bassist Anthony Cox and either Johnny Vidacovich or Terri Lyne Carrington on drums. Don Grolnick already played keyboards on his 1986 album Still Warm (and would later produce his 1991 album Meant to Be). With Anthony Cox Scofield was part of a recording by Gary Thomas' a few months earlier (By Any Means Necessary). And with Terri Lyne Carrington he first played together on a recording session led by Niels Lan Doky in September 1988 (Daybreak). Johnny Vidacovich "is the quintessential New Orleans jazz drummer." Scofield recorded with him once before in 1988 for Ray Anderson's album Blues Bred in the Bone. Scofield and Ray Anderson also recorded with saxophonist Bennie Wallace on his New Orleans R&B influenced albums Twilight Time (1985) and Bordertown (1987) both featuring Dr. John. Scofield would later come back to New Orleans based grooves on his 1995 album Groove Elation and most explicitly in 2009 with Piety Street.

The basic facts on this album are that Sco returned to a more traditional sound here after spending most of the 1980s playing jazz-rock fusion with Miles Davis and his own bands. For this session, he mixed post-bop jazz with elements of New Orleans R&B. One might jump to the conclusion that this was a contractual-obligation blowing session, based on the presence of musicians he has not recorded with since and the fact that about half the record is comprised of jazz and R&B standards. But what you get is far from a routine affair tossed off to wind up his fruitful 1980s stint with Gramavision Records. This is an album that wears very well. Better, for my money, than "Hand Jive" and "Groove Elation," two mid-1990s Blue Note albums where he also mixed swing and r&b. It's a more stripped-down affair than either of those two records, having no horns, piano, or auxiliary percussion. And then there are the standards. For the first three decades of his career (up until his Ray Charles tribute of 2005), Scofield mostly avoided recording material not written by him or, in a few cases, musical associates like Steve Swallow. This record is something of an exception, with stunning versions of All the Things You Are, Secret Love, and the classic New Orleans R&B tunes "Rockin' Pneumonia" (Huey 'Piano' Smith)and "Cissy Strut" (The Meters). For whatever reason--the more relaxed grooves, the presence of familiar favorites on the set list, or who knows what--he turned in a record that is greater than the sum of its parts. That can't always be said for the string of Blue Notes records that were to follow (save the first, the consistently wonderful Time on My Hands), which often seemed to be exactly the sum of their parts. Never less than professional and well-crafted, but only sporadically inspired at the level that he maintains through this whole session. Almost any Scofield record has a few exceptional moments that stand the test of time, but this one is at a different level, sounding almost like a live concert set, but with all the sonic benefits of a studio recording.

Scofield"s swan song for Gramavision and the best of the lot! I bought this cd in 1989 and this music really hits the spot every time I put it on the stereo. The tunes are memorable, and John's playing is inspired by the two excellent drummers including Johnny Vidacovich, and Terri Lynn Carrington. With the exception of the late Don Grolnick playing organ on a few tracks, it's an extroverted trio affair with a big sound. Anthony Cox is on bass. If you're craving more of Sco's guitar, do yourself a favor and order this cd.

In his final trip to the recording studio for Gramavision, jazz fusionist John Scofield once again shifted gears and showed his ever-growing legion of fans a glimpse of his new direction on his 1989 CD entitled "Flat Out". The grooves here are greasier, more redolent of New Orleans, and they anticipate where Scofield arrived with his Hand Jive quartet five years later. The supporting band of Don Grolnick on Hammond B-3 organ, Anthony Cox on bass and Terri Lyne Carrington and Johnny Vidacovich sharing drum chores is an inspired acoustic/electric blend that allows Scofield to cover "Cissy Strut" and "Rockin' Pneumonia" as well as burn on six originals and a couple of Tin Pan Alley standards. 

Track listing

1.    "Cissy Strut" (George Porter, Jr., Ziggy Modeliste, Art Neville, Leo Nocentelli) – 2:56
2.    "Secret Love" (Sammy Fain, Paul Francis Webster) – 5:55
3.    "All the Things You Are" (Oscar Hammerstein, Jerome Kern) – 7:37
4.    "In the Cracks" (Scofield) – 4:48
5.    "Softy" (Scofield) – 4:34
6.    "Science and Religion" (Scofield) – 4:42
7.    "The Boss's Car" (Scofield) – 6:59
8.    "Evansville" (Scofield) – 5:52
9.    "Flat Out" (Scofield) – 3:40
10.   "Rockin' Pneumonia" (Huey "Piano" Smith) – 3:57

Personnel

    John Scofield - electric guitar
    Don Grolnick - Hammond B-3 organ
    Anthony Cox - double bass
    Johnny Vidacovich - drums (exc. tracks 3, 7, 8)
    Terri Lyne Carrington - drums (tracks 3, 7, 8)

John Scofield - 1981 [2010] "Out Like A Light"

Out Like a Light is a live album by jazz guitarist John Scofield that was released in 1981. Out Like a Light is the sister album to Shinola as both recordings contain material from the Munich concerts of December 1981.

Fine trio date from '81, with guitarist John Scofield stretching out in multiple directions and showing his facility with the swing style, mainstream, and jazz-rock genres. Besides his fluid, inventive solos, Scofield works well with bassist Steve Swallow, who approaches his instrument like a second guitar, and drummer Adam Nussbaum.

OUT LIKE A LIGHT is the best illustration yet Scofield’s prismatic talent. His solo on ‘Holidays’ displays the colours of all his influences refracted into the natural and coherent single shaft of light that is Scofield’s distinctive sound.

This set, along with "Shinola" was recorded live in 1981 in Germany, at Club Vielharmonie. This music is taken from the second night of the group's stand, and is as wonderful as it's predecessor. In a trio setting Scofield's guitar is allowed to roam at will, without the inclusion of any keyboards. His band, Steve Swallow-electric bass, Adam Nussbaum-drums, are arguably the best rhythm section he ever played with. Swallow has played with many jazz greats, especially with vibist Gary Burton. Nussbaum, too, has played with many fine jazz artists, and together they lay down a sympathetic, almost intuitive foundation for Scofield. Both these sets were recorded just prior to Scofield joining Miles Davis' band in 1982.

The trio are just about evenly mixed on this recording, which gives listeners a good chance to hear three musicians at the top of their game. Four of the five tracks are by Scofield, with the fifth ("Melinda") by Allen Lerner. The music is energetic without sounding rushed, which sometimes happens in a live setting. Scofield has his guitar under restraint here, leaving space for Swallow to shine through with some wonderful bass playing, with Nussbaum filling in any holes with his light touch on the cymbals and snare drum. All the tracks are long, 7-8 minutes, with "Melinda" clocking in at a bit over 3 minutes. But the star is Scofield, who plays with intelligence and forethought-sometimes leaving spaces between the notes and other times filling up his solos with a flurry of notes.

This music ebbs and flows and is over before you know it. The trio is continually playing off one another as only musicians of this caliber can. This early look at Scofield is some of his finest playing-just his guitar and rhythm section, and is very satisfying. If you've been waiting (like I have) for this to hopefully be re-released, well, here it is. I only wish more from this trio would be made available-it's out there, along with more of his live quartet music (hear "Live")from roughly the same era. A fine studio set is "Rough House" for those unfamiliar with Scofield. Another good live set is "Live-En Route", from 2003, recorded at the Blue Note Club, with Bill Stewart on drums, and Scofield's old pal Steve Swallow on bass. But if you like jazz guitar trios in a live setting, this is something (along with "Shinola") that is well worth investigating.

I've listened to a lot of John Scofield records over the years; this is a favorite, as are Still Warm and Blue Matter. Holidays, the opening track on Out Like a Light, is a tour de force; it sounds extremely fresh and new. Scofield, Swallow, and Nussbaum play together with great sensitivity, playing at the edges of the jazz idiom to build tension and play some amazing solos. Since it's a live recording, one would expect some looseness in solo construction and some clams, but there are very few of either - just playing by three very talented musicians interacting with great musical empathy.

It bears repeated listening very well, and compares favorably to much more well-known albums, in my opinion. All three players bring a lot to the music....

This is one of Scofield's two or three best records, in some ways, still my favorite to this day (it was the second one that I heard, after "Still Warm). I truly believe that, though Sco has grown as a player over the years, he's never quite surpassed, on record, the tune "Holidays" from this album. Simply put, I've never heard anything quite like it in jazz, rock, fusion, or from the jam band scene (something about it's loping feel suggests some Grateful Dead material, though it's light years beyond them in every way). Also, Steve Swallow's bass solo on that tune is probably my favorite ever; it's incredibly beautiful, and operates like a mini composition within a composition.
Though the album never again achieves the same staggering level of achievement, that's really no insult to the other songs, which are all terrific. It simply means that "Holidays" is, for me, up there with things like Sonny Rollins' "St. Thomas," Coltrane's "A Love Supreme," or Sam Cooke's "A Change is Gonna Come" - a rare, perfect musical achievement that feels as though not a single detail could be any different, much less any better.

Cover picture from the original artwork. (I didn't like the new cover.) Alternate scans included.

Track listing:

1. "Holidays" (8:45)
2. "Last Week" (8:41)
3. "Miss Directions" (7:53)
4. "Out Like a Light" (7:01)
5. "Melinda" (3:18)

Personnel:

John Scofield – electric guitar
Steve Swallow – bass
Adam Nussbaum – drums

John Scofield - 1984 [2014] "Electric Outlet"

Guitarist John Scofield combines with Pete Levin on synthesizer to make this 1984 session both very electric and eclectic. With David Sanborn on alto, Ray Anderson on trombone, and Steve Jordan on drums adding acoustic voices to the mix, the results are as thought-provoking as Scofield's titles. The rock, funk, jazz, and techno elements proliferate and combine, putting populist and outside approaches in a new perspective. There are even touches of Ennio Morricone's film music in the wide-open spaces of "Best Western." While much fusion is about the easy mismatching of elements, Scofield manages to turn his different sources into distinctive and original music.

Guitarist John Scofield's music of the '80s (mostly recorded for Gramavision) blended together funk with post-bop improvising. Although not as timeless as much of his work of the '90s, there are always moments of interest on his many recordings. For Electric Outlet, Scofield performs eight originals (the best-known is "Pick Hits") with a notable quintet and also including altoist David Sanborn, trombonist Ray Anderson, Pete Levin on synthesizer and drummer Steve Jordan; there is no bassist, although the leader often plays basslines. Intriguing music.

John Scofield was an early favotite of mine from before he played with Miles. I picked up Shinola when it came out (looking for Steve Swallow stuff, actually). I really loved that. When he started playing with Miles, I was fortunate enough to see him a coulpe of times, and then later in solo form at a nice club. After that period, I have found his stuff 'hit or miss' ... but I was blown away by UberJam. However, Electric Outlet remains right at the top of my list of favorite Scofield work. It really lays out his style and preferences. Worth picking up!

This is a great Scofield disc. I like John's recent funk outings, but this disc from further back in his career really outlines his jazz playing in a more fusion-like setting.

Track listing:

All tracks by John Scofield

1. Just My Luck (5:21)
2. Big Break (5:15)
3. Best Western (5:41)
4. Pick Hits (6:03)
5. Filibuster (5:51)
6. Thanks Again (4:50)
7. King For A Day (2:28)
8. Phone Home (5:12)

Personnel:

John Scofield - electric guitar, bass
Peter Levin - synthesizers
David Sanborn - saxophone
Ray Anderson - trombone
Steve Jordan - drums

John Scofield - 1994 "Hand Jive"

Guitarist John Scofield and tenor saxophonist Eddie Harris make a very complementary team on this upbeat set of funky jazz, for both have immediately identifiable sounds and adventurous spirits. Along with a fine rhythm section that includes Larry Goldings on piano and organ, Scofield and Harris interact joyfully on ten of the guitarist's originals.

This 1994 recording is one of John Scofield's best, with a band that adds the soul-jazz veteran Eddie Harris to a group of the guitarist's regular associates, Larry Goldings on keyboards, Dennis Irwin on bass, Bill Stewart on drums, and Don Alias on percussion. Perhaps it's the mix of the familiar rhythm section with the novelty of playing with Harris, a player with a similar penchant for inside funk, outside approaches, and altered sounds, but Scofield is unusually animated. He digs into the rhythmic grooves and develops extended ideas throughout, most notably on "I'll Take Les" and "Do Like Eddie," tributes to the onetime partnership of Harris and pianist McCann. Goldings is outstanding on piano as well as organ, and everyone involved contributes to making this a high point in contemporary soul jazz.

Absolutely my favorite Scofield album, and one of my favorite groovin' jazz albums of all time. I come back to this one often, and not only because it has one of my favorite drummers (Bill Stewart) and a high school friend of mine (Larry Goldings) playing on it. This is top-notch playing, Scofield at his best (imho), fantastic session guys, and while it keeps some of the Scofield "angularity," it's a lot more fluid and groove-oriented than some of his offerings. Most of this one feels as if it comes more from the gut than the head, and that's a good thing.

Having just seen Scofield with Mike Stern and the Hollowbody Band (also featuring Bill Stewart), I have a renewed appreciation for this gem - they closed the show with Do Like Eddie, my favorite track from the disc. You will have that head melody in your head for days, I all but guarantee!

Very funky recording, a soul-jazz throwback to the music of saxophonist Eddie Harris -- who as a guest star on the CD makes the connection even more obvious. The organ/guitar grooves are terrific!

Not just for jazz fans, I've had friends who don't like jazz say they like this CD. Even more accessible is the CD Scofield a la Go Go with Medeski Martin & Wood. This CD is funkier, that one more poppy.

Track listing:

All compositions written by John Scofield.

1. I'll Take Les (6:58)
2. Dark Blue (7:37)
3. Do Like Eddie (8:06)
4. She's So Lucky (5:50)
5. Checkered Past (5:28)
6. 77th Floor (4:45)
7. Golden Daze (7:33)
8. Don't Shoot The Messenger (6:10)
9. Whip The Mule (5:37)
10. Out Of The City (5:18)

Total time 63:22

Personnel:

    John Scofield - guitar
    Eddie Harris - tenor saxophone
    Larry Goldings - piano, organ
    Dennis Irwin - bass
    Bill Stewart - drums
    Don Alias - percussion

John Scofield - 1987 "Pick Hits-Live"

Pick Hits Live is a live album by the jazz musician John Scofield.

One of guitarist John Scofield's best sessions for Gramavision, this live date features his regular band of the period, a quartet with keyboardist Robert Aries, electric bassist Gary Grainger and drummer Dennis Chambers, who had been playing together regularly for a year at that point. The close communication between the musicians on such numbers as "Pick Hits," "Protocol" and "Blue Matter" could only come from the players fully understanding each other's musical personalities. The music, electric but adventurous, funky but definitely exploratory jazz, is difficult to describe, but easier for Scofield's fans to enjoy.

This album documents a 1987 Tokyo concert when, in Scofield's words, "the band and the audience came together and developed a special momentum of their own that only happens on our best nights." All of the stops are out here, as such favorites as "Thanks Again," "Blue Matter" and "Heaven Hill" are taken to new levels of intensity. Featuring the Robert Aries/Gary Grainger/Dennis Chambers rhythm section that had spent the previous year touring with Scofield and perfecting their take-no-prisoners approach to his music.

This cd is absolutely a milestone in jazz music. As much so as Miles Davis'or John Coletrane's contributions to the change in the landscape and direction of jazz, John Scofields genious on this recording shines. Also the stellar, and at times unbeleiveaable performances of the finest rhythm section to walk the earth: Jim Beard on keys, Gary (not Tim) Grainger on Bass and Dennis Chambers on drums. It just doesn' get any better than this! This recording is a 'must-have' for any serious jazz musician.....period!

The cd, recorded live in Japan, features John Scofield's hottest band, with the amazing Dennis Chambers on drums, and Tim Granger on Bass. The songs come mainly from Blue Matter and Still Warm, both seminal Scofield. Scofield himself tears up the fretboard. But don't expect mindless pyrotechnics. His phrasing is pure jazz, more idiomatic to the sax than the guitar at times. To see Dennis Chambers live is a rare treat. Hearing him drum here is a humbling experience. The double bass work alone is a clinic for aspiring drummers. The band is amazingly tight, navigating time signatures and breaks adroitly. The dynamic range of the band makes each song a much more visceral experience than the studio versions.

This man plays many styles and has played with many great musicians, but this live set is his best. The band is awesome especially the drummer Dennis Chambers. Gary Grainger on bass and Robert Aires on keyboards fill out this outstanding quartet. The first two cuts are fusion, the 3rd "Heaven Hill" is a blues number, which any blues fan would love. On track 4, "Protocol" this thing starts to cook and it doesn't stop until the end of "Trim." The rhythm section puts down an incredible beat that is the perfect background for some of the best fusion guitar this side of Mahavishnu.

Track 7: "Trim" is one of the best fusion tunes you will ever hear, it is 17 minutes of WOW. This is the one that makes having this CD necessary. "Georgia On My Mind" slows things down for a little while John solos on this classic song. "Make Me" is the perfect way to end this set. This is the way fusion is supposed to sound and leaves you wanting more. John plays classic jazz, funk, fusion, grove, and some smooth jazz: He never sounded better than he does here however. This is a 5 star, must have jazz classic.

Track listing

1.    "Pick and Pans"
2.    "Pick Hits"
3.    "Heaven Hill"
4.    "Protocol"
5.    "Blue Matter"
6.    "Thanks Again"
7.    "Trim"
8.    "Georgia On My Mind"
9.    "Make Me"

Personnel

    John Scofield - guitar
    Robert Aries - keyboards
    Gary Grainger - bass guitar
    Dennis Chambers - drums
 

John Scofield - 1988 [2014] "Loud Jazz"

The title, a phrase coined by Scofield's daughter, is the guitarist's typically witty take on the distinctive approach he had achieved with the quartet that included Robert Aries on keyboards, bassist Gary Grainger and drummer Dennis Chambers. To add to the fun, former boss George Duke was called in to take keyboard solos on six tracks. This album is most indicative of what Scofield achieved during his Gramavision years.

There are "loud" moments on this studio set, but the title cut's name is more a humorous attempt to describe the John Scofield Quartet's music than an accurate depiction of their style. The leader/guitarist, who sounds typically distinctive, welcomes guest keyboardist George Duke to five of his nine originals. Scofield's regular group of the era consisted of keyboardist Robert Aries, electric bassist Gary Grainger and drummer Dennis Chambers and they are also joined here by percussionist Don Alias. The music (which includes such numbers as "Tell You What," "Dirty Rice," "Wabash" and "Spy Vs. Spy") has few memorable melodies but plenty of dynamic playing by Scofield, who at this point was growing as a major stylist from album to album. A strong effort.

If I ever needed a title to categorize John Scofield releases from his Grammavision days, I couldn't find one more apt than Loud Jazz (Grammavision, 1988) This was the last of Sco's hot, electric funk fusion releases. He's still groovin' and in the pocket today, but not the electric, loud, in-your-face stuff evident on this album. Although I'm a fan of all of these early releases, and even some from the mid 70's, this is probably my favorite Scofield release. The reason is simple. All of the standard "Sco" stuff is there, but these tracks are more lyrical. The melodies and rhythms are less pushed. The album, overall, feels relaxed and hip.

And the classic gang is all there too. Gary Grainger is spry and funky on bass with Dennis Chambers doing what he does best with a powerful and punchy kick drum. They're joined by keyboardist Robert Aries and Don Alias on percussion, with George Duke taking the keyboard solos.

I can't think of a bad track on this album. Not even one that I get bored with. This is quintessential Sco-funk from the opener "Tell You What" to the title track. Like most Scofield albums, I find myself thinking "these guys had a lot of fun playing these tunes." There's energy, wit, humor-all the elements. I especially found the change of pace, almost melancholy ballad, "True Love" endearing. Even though there's room to take this and rip it like the other tracks despite the depressed tempo, Sco maintains the vibe, keeps it pretty, and does a wonderful job.

http://jazz-rock-fusion-guitar.blogspot.com/search?q=John+Scofield

Tracks Listing:

01. Tell You What (3:46)
02. Dance Me Home (5:55)
03. Signature Of Venus (4:42)
04. Dirty Rice (6:34)
05. Did It (5:38)
06. Wabash (4:33)
07. Loud Jazz (6:06)
08. Otay (6:14)
09. True Love (3:54)
10. Igetthepicture (4:07)
11. Spy Vs.Spy (6:16)

Total time 57:45

Personnel:

- John Scofield / guitar
- Robert Aries / keyboards
- George Duke / keyboard solos (1,2,4,6-8)
- Gary Grainger / bass
- Dennis Chambers / drums
- Don Alias / percussion

John Scofield - 1991 "Meant To Be"

Meant to Be is a studio album by jazz group The John Scofield Quartet.

This CD, along with Time on My Hands and What We Do, is an exceptional showcase for Scofield and Lovano. Johnson and Stewart lay down some of the best rhythm section playing--enhanced by Sco's creative comping--recorded in the 90's. The tunes are beautiful and inventive throughout, the solos are out of this world (particularly on Go Blow and Big Fan--I still can't figure out how they come in on the out-head after Lovano's solo), and the ensemble telepathy is undeniable.
BUY IT NOW! Then buy What We Do and Time On My Hands.  By Ben Patterson.

The year was 1990 and the quartet featured Joe Lovano on tenor saxophone & alto clarinet, Marc Johnson on bass, Bill Stewart on drums and of course the great man himself on guitar.

I love anything John Scofield does. His guitar sounds much more muted these days; this album is from back when it still used to wail a little. The uptempo tunes are brilliant enough but it's the ballads on this album that get to me; The beautiful "Keep Me In Mind", "The Guinness Spot", "Meant To Be" and "French Flics" are worth the price of the CD all by themselves. But other favourites are "Chariots", "Mr. Coleman To You" (a tribute to Ornette?) and the weird and wonderful "Lost In Space". Scofield writes all songs, naturally.

With great input from all four members of the quartet, this album has a very similar vibe to the 2002 "scolohofo" project which featured Scofield and Lovano alongside Dave Holland and Al Foster, so if you liked that I think you'll like this. (And if you like this of course I think you'll like THAT!)

Modern jazz at its best for sure. By Olukayode Balogun

A heartfelt sort-of homage to Ornette Coleman, this stands as my favorite Scofield album. Don't let the ugly shirt John's wearing on the cover dissuade you; this is indisputably some of his finest stuff. I highly recommend this album to anyone who has never heard Scofield before and is curious to hear what some of his more straight-ahead stuff is like. It's hard to find any ballad that matches the beauty of "the guinness spot" or "keep me in mind".

Track listing

All tunes composed by John Scofield.

01 Big Fan 6:07
02 Keep Me In Mind 6:04
03 Go Blow 8:22
04 Chariots 6:03
05 The Guiness Spot 6:38
06 Mr. Coleman to You 6:06
07 Eisenhower 5:24
08 Meant To Be 7:09
09 Some Nerve 5:13
10 Lost In Space 6:33
11 French Flics 5:32

Personnel

    John Scofield - guitar
    Joe Lovano - tenor saxophone, alto clarinet
    Marc Johnson - bass
    Bill Stewart - drums 

John Scofield - 1990 "Time On My Hands"

John Scofield has turned the corner from journeyman jazz guitarist to become one of the most inventive and witty players on the contemporary scene. This date, his first for the Blue Note label, builds on a discography following several recordings for the Gramavision label, and also progresses this contemporary jazz music into an individualism that can only bode well for his future efforts. Teamed with the rising-star saxophonist Joe Lovano and the bulletproof rhythm team of bassist Charlie Haden and drummer Jack DeJohnette, Scofield is emerging as a player of distinction on the electric guitar, and a composer whose mirthful ideas add spark and vigor to his newfound musical setting. In this co-production with Peter Erskine, Sco has found his melodic stride in making music that is bright and clever without being overly intellectual, retaining a soulful quality enriched by the deep-rooted, bluesy tenor sax of Lovano. What is most refreshing is that this music has broken free of clichés from the earlier original fusion movement, and what Scofield might have accomplished prior. "Farmacology" is an excellent example of this, more in the hard bop vein and echoing both ringing country twang and the unique voicings of Ornette Coleman. There's rambling neo-bop and good-time fun in the unison of guitar and tenor sax during "Wabash III," a lighter, elegant, but free and melodic tone in 6/8 time for "Flower Power," and squeaky clean, sweet, easygoing swing demonstrated on "Since You Asked." Haden and DeJohnette are so well matched as a rhythm team that it's easy to take them for granted, while hard to ignore their brilliance. They load up on New Orleans-style blues while Scofield doles out amusing and fractured lines for "So Sue Me," collectively move to a sleek and sneaky stance on "Let's Say We Did," and rip up a driven, forceful neo-bop for the linear melody of the witty "Stranger to the Light." Even though it's a first-time issue on CD, there are three bonus tracks, including the soul song shuffle "Time and Tide," a free, loose association that identifies "Be Hear Now," and the big-time, rock & roll-flavored, squawky "Fat Lip." It's hard to fathom this being anything other than a sustainable new direction for Scofield's music, one that he can enhance as bandmembers come and go in the not too distant future.

From the opening be-bop tune "Wabash III" to the acoustic(!) fushion-ish "Fat Lip", Scofield's amazing depth in both composition and technique are all on display on this 1989 outing. Lovano's passionate solos (check out "Let's Say We Did") shows why he is quite possibly the best tenor man of the last ten years. DeJohnette puts in his usual excellent work on the drum kit, but it is Charlie Haden who manages to outdo himself here. His dead-on bass lines nicely fills the void left by the lack of keyboards and stretches out without going too far on "So Sue Me".
Overall, a record that hits the mark in every aspect; a must purchase if you like the straight-ahead jazz side of John Scofield. Or if you like straight-ahead jazz at all, for that matter.  By A Customer.

I bought this album because it just... well... it was in a bargain bin. There. I've said it.
It just about took my head off, though. I've always loved Jack
DeJohnette, and Charlie Haden just seems to magically appear on so much that interests me. Joe Lovano is marvelous... but this mix confused me in concept - Scofield's electric style, the nature of the tunes, and acoustic bass (the no-brainer on this stuff would have been electric bass).
I've listened to it several hundred times now, and the fluidity, grit and warmth that Scofield puts behind a horn line is just amazing. Understated, but really powerful. And the DeJohnette and Haden work with it is prime.
I'd say get this, because it's WONDERFUL. But also, if you want to hear something a little different that a guitar can do while backing up a tenor - and playing off a tenor - check it out. I can't imagine being let down. By K. D. Jones.

IMHO, this fully deserves the praise heaped upon it. I've only heard one other Scofield/Lovano quartet session and, to my ears, it paled by comparison. Compositions penned by guitarists are often criticized for being too "guitaristic" in flavor and I'd agree that's a common enough syndrome, but not in this case. There's a wide range of moods and plenty of listening going on-- it never devolves into mere chopsmanship. All-star sessions that bring together "hot-shots" while great for product marketing, don't necessarily pan out in terms of musicality. No such problem here; no-one is coasting on their reputation. If your appetite is whetted merely by the line-up; go ahead and order this; odds are, you won't be disappointed.  By madaboutmusic.

Tracks Listing

1 Wabash II 6:20
2 Since You Asked Me 6:10
3 So Sue Me 5:58
4 Let's Say We Did 4:22
5 Flower Power 4:57
6 Stranger to the Light 7:27
7 Nocturnal Mission 4:13
8 Farmacology 6:40
9 Time and Tide [bonus track] 5:48
10 Be Hear Now [bonus track] 6:50
11 Fat Lip [bonus track] 3:45

Personnel

    John Scofield - guitar
    Joe Lovano - saxophone
    Charlie Haden - bass
    Jack DeJohnette - drums 

Mike Stern - 1999 "Play"

Play is an album by Mike Stern, released in 1999 through Atlantic Records. The album reached a peak position of number twenty-one on Billboard's Top Jazz Albums chart.

Mike Stern is a preeminent guitarist for two key reasons: One, he can play all styles very well and with equal command; and two, he plays very well with all other players. He always shows great respect for those with whom he is playing and gives them each the time and space to develop their musical ideas. Stern displays these two qualities in abundance on Play. Several notable guests join Stern and his core band for this release. Guitarists John Scofield and Bill Frisell and drummer Dennis Chambers each team with Stern on several tracks.

If you enjoy straight-ahead jazz, listen to Stern and Scofield on the title track, or mix in Bob Malach's tenor sax on "Outta Town." If you like your guitar music slightly more spacious and lyrical, try Stern and Frisell on the hypnotic "Blue Tone" or the pensive "All Heart." Finally, if you want to turn up the heat and move into some rock/funk-influenced fusion, then check out the groovy "Tipatina's," the bold rocker "Link," or the intensely funky "Big Kids." It is no surprise, based on his other work, that Chambers, in particular, gives the band a kick in the musical pants inspiring bassist Lincoln Goines to enjoy the ride. Play is an outstanding guitar album from the highly accomplished and incredibly versatile Mike Stern. It is highly recommended.

If Mike Stern were a guitarist coming out of the 1960s, he'd be a hero today. Sure, there's always John McLaughlin. But not many other guitarists then - or now - could play rock guitar with the high degree of intimacy and the non-assaulting technical prowess that Mike Stern has always possessed.

Plus, if there was any kind of justice in jazz, Miles Davis's Star People (1983) would be regarded as one the great records of the Eighties it has always surely been. There, Mike Stern in commanding communiqué with John Scofield, laid the law for what jazz-rock had hoped and ceased long before to achieve. It's just that jazz listeners had stopped caring.

Which brings us effectively to Play, Mike Stern's ninth Atlantic disc over the last baker's dozen years. The question is - be honest — how many of us knew of or heard the preceding eight?

Well, the big news is that Play isn't really newsworthy. It's Stern doing his own thing - a catchy rock take on post-bop jazz — with a first-rate cast of musicians. Again. The guest seats, filled this time by guitarist Bill Frisell and John Scofied (but unfortunately not together), are all people will hear about. However, Stern displays a continuing ability here to hone his melodic craft and perfect his catchy compositional skill. That's what'll Play on after all the hype is gone.

All ten selections are Stern's own, while Scofield guests on three pieces and Frisell sits in on four. Like Scofield did for Medeski, Martin & Wood on last year's A Go Go, Stern here concocts melodies suggested by the much more distinct styles carved by his fellow plecterists.

Scofield goes to Scofieldland for the funky "Play" and catchy "Small World." But Stern breaks the mold a bit for the swingy bop romp, "Outta Town," which lets the reuniting guitarists show their chops a bit and shows how Stern's harshness has mellowed through the years without any loss of bite.

Frisell's tracks took Stern's group to Friztown (Seattle) for the disc's most interesting numbers. Of course, there's the Frisell country-folk-jazz-Americana of "Blue Tone" and "All Heart." But Stern also challenges Frisell to the electro-avant-bop duel of "Frizz" and the surprisingly funky "Big Kids" (which postulates the intriguing concept of a Frisell funk album).

The remaining three tracks - "Tipitina's," "Link" and "Goin' Under" - offer the more familiar Stern groove with his working band featuring keyboardist Jim Beard, the Breckeresque Bob Malach on tenor, bassist Lincoln Goines and (former Scofield) drummer Dennis Chambers.

Since neither Scofield nor Frisell set off any major fireworks, Play ultimately becomes a showcase for its star, Mike Stern. The composer and guitarist is totally in his element here. And if high-ticket guests like Scofield and Frisell bring him the attention he's long been due, then Play is Stern's own hero's welcome.

Mike Stern is doing things with jazz, he always gets hammered by the critics, for his rock edge, but this album along with the last, between the lines, break down musical barriers in a music (jazz) that should incourage new voices, but of course dosen't, and has become mundane,since the passing of Miles, Stern keeps the torch burning!and by the way mike doen't loose the rock edge ! its a uniquie voice in a day when everyone is encouraged to sound the same.

Track listing:

01 Play 7:15
02 Small World 5:23
03 Outta Town 6:09
04 Blue Tone 6:43
05 Tipatina's 6:35
06 All Heart 6:22
07 Frizz 5:41
08 Link 6:50
09 Goin' Under 4:10
10 Big Kids 7:29

Personnel:

Mike Stern – guitar (all tracks)
John Scofield – guitar (tracks 1, 2 & 3)
Bill Frisell – guitar (tracks 4, 6, 7 & 10)
Ben Perowsky – drums (tracks 1, 2, 3, 4, 6, 7 & 10)
Dennis Chambers – drums (tracks 5, 8 & 9)
Lincoln Goines – bass (all tracks)
Bob Malach – tenor saxophone (tracks 3, 5, 6, 8 & 9)
Jim Beard – keyboards (tracks 1, 2, 3, 5, 6, 8 & 9)

James Muller - 2006 "Kaboom"

Australian guitarist JamesMuller makes a potentstatement on his fourth release as a leader, originally issued in 2006 and recently re-pressed. Recorded in New York with drummer Bill Stewart and bassist Matt Penman, Kaboom showcases Muller’s startling six-string facility and fresh compositional style. Highlights include the swinging title track; the edgy “D Blues,” full of daring intervallic leaps and rapid-fire single-note streams; and Muller’s soulful and swinging tribute tune “Chick Corea,” on which he burns up the fretboard yet again. Muller closes with a straight reading of “All the Things You Are” that has him blowing over the bar line with jaw-dropping abandon. For sheer speed, spotless articulation and fertile ideas, Muller ranks right up there with fellow Aussie chopsmeister Frank Gambale.

Geography is the only reason that James Muller isn't as well-known as he should be. Having spent most of his life in his native Australia, the guitarist, now in his early thirties, has racked up a significant number of releases including Sonic Fiction's Changing With the Times, pianist Mark Isaac's Closer and the recent JazzGroove Mothership Orchestra's The Mothership Plays the Music of Mike Nock. Fusion fans may know him for his recent work with drummer Chad Wackerman. Every project seems to reveal another side to this virtuosic player, begging the question: will the real James Muller please stand up?
Kaboom, Muller's fourth album as a leader, comes from a session recorded during time spent in New York. He may be the sum of his influences, but his own voice emerges on this set of five self-penned tunes, plus two by fellow Aussie Sean Wayland and one standard. Muller eschews the heavily overdriven tone he used with Wackerman for a cleaner and occasionally chorused tone that's still got plenty of bite. Bassist Matt Penman and drummer Bill Stewart round out a trio rooted in the mainstream, but still filled with plenty of surprises.
Muller's chordal approach resembles John Scofield's, though he's less blues-informed. He communicates a hint of folksiness at times that references Pat Metheny, but he avoids any of the guitar icon's signatures, though his solo style is equally focused. The occasional descending legato run suggests Allan Holdsworth, but he's less abstruse in nature and isn't averse to letting his guitar sound like a guitar.
The charts are primarily solo vehicles, but they're memorable, despite their brevity. There's plenty of room to stretch, but Muller's innate sense of construction never loses sight of the bigger picture. Peppering linear phrases with attractive chordal voicings, Muller creates tension by taking things ever so slightly outside, but never at the expense of melodic development; this quality is shared by Stewart, one of today's most distinctly musical drummers.
The trio swings hard on "D Blues," evokes bittersweet melancholy on the balladic "Eindhoven" and burns brightly on the fiery "Chick Corea." There's plenty of energy, but despite Muller's pungent tone, the overall vibe is more about smooth surfaces than sharp edges. While there's underlying form, there's also a strong simpatico that lets the trio take enough chances to keep listeners on their toes.
With the number of guitarists flooding the jazz scene these days, it's hard to stand out, but Muller does just that on Kaboom, further evidence of a vibrant Australian scene that's still waiting to be discovered by an international audience.

2012 Re-press. Australian guitarist James Muller have been always spoken in musician circles highly praised by John Scofield, Chad Wackerman and others. On this brand new release he teams up with Scofield bandmate Bill Stewart on drums and Matt Penman on bass. Kaboom has five of James' compositions, two by Sean Wayland and one standard by Jerome Kern and Oscar Hammerstein. Recorded in NYC it's a absolute blinder - listen to it and you'll see why John Scofield rates James as one of THE top players.

Really great compositions and inspired playing by everyone. I can't recommend this enough. You will not be disappointed. Muller is a monster guitarist, and Bill Stewart is his usual awesome self.

I find this CD from Australian guitarist James Muller to be a refreshing listen. Influences of early Metheny and Scofield are in the playing but he has his own style. Matt Penman is on bass and Bill Stewart on drums. Both have played with Scofield.My CD comes with a sticker recommendation from John Scofield. I quote "This is a great album.James has it all....I love his playing."
James Muller can also be heard on CDs by the Mark Isaacs Resurgence Band and the Subterraneans. 

Track Listing:

01 Honeycombs;
02 Kaboom;
03 Stacked;
04 D Blues;
05 Eindhoven;
06 Chick Corea;
07 Marcello;
08 All the Things You Are.

Personnel:

James Muller: guitar;
Matt Penman: bass;
Bill Stewart: drums.

John Scofield - 1981 "Shinola"

Shortly before joining Miles Davis' group, guitarist John Scofield recorded this passionate trio set with electric bassist Steve Swallow and drummer Adam Nussbaum. Much of Scofield's playing here is quite rock-ish although he does show off his jazz chops on Jackie McLean's "Dr. Jackle." The frequently intense music (which has been reissued on CD), which is not as essential as many of the guitarist's later sets, has plenty of fiery moments.

John Scofield is documented in his pre-Miles Davis period on Shinola, a 1981 date with Steve Swallow (electric bass) and Adam Nussbaum (drums). The guitarist's distinctive style is highly developed even at this stage in his career, combining elements of rock and rhythm 'n' blues with post-bop leanings and an uncanny, 'left-handed' lyricism, all colored with a lightly distorted, subtly phase-shifted tone, his legato lines embellished with bent notes, picked octaves and sweet 'n' sour cluster chords.

Nussbaum provides edgy momentum while Swallow's agile bass fills in the texture with commentary and counterpoint. Scofield's improvisations often sound more like rhetorical questions than declarative statements, implying the very answers for which he seems to be searching. On "Dr. Jackle" he turns out high-speed, slightly fragmented phrases that sideslip in and out of key, using open strings and other guitar-friendly techniques that, paradoxically, achieve an ultimately horn-like effect. "Yawn," a wistful, searching ballad, and the solo intro to "Jean the Bean" both show Scofield's ability to suggest complex harmonies with minimal means, laced with guitar licks straight out of the soul music lexicon that nevertheless avoid sounding clichéd.
"Rags to Riches," a catchy original, contains strong solos and a humorous "Those Were the Days" quote. Closing out the disc, the title track alternates heavily distorted bombast with a gently cascading line, fleshed out with a neck-spanning solo of slow bends, hard riffing and attitude to spare.

 Track listing

    "Why'd You Do It?"
    "Yawn"
    "Dr. Jackle"
    "Jean the Bean"
    "Rags to Ritches"
    "Shinola"

Personnel

    John Scofield - electric guitar
    Steve Swallow - bass
    Adam Nussbaum - drums

Billy Cobham - 2001 "Rudiments" - The Billy Cobham Anthology

"Rudiments" connotes that this is essential for drummers-and the 24 tracks of straight-ahead, funked-up and rock-infused jazz make it a real treat for the rest of us, too! The tracks are from eight 1973-78 Atlantic LPs and the supporting players include Jan Hammer, John Scofield, Randy and Michael Brecker and more; includes Stratus; Spanish Moss; Flash Flood; Moon Germs; 29; Shabazz , and more. Nearly two and a half hours of awe-inspiring performances!

If ever anybody deserved a two-disc anthology of his offerings as a solo artist it's fusion drummer Billy Cobham. After making his stellar debut with John McLaughlin's Mahavishnu Orchestra, Cobham made eight records for Atlantic from 1973-1978. To varying degrees, these recordings were true statements on the state of jazz-rock fusion. Many blame Cobham for being a member of the technical-expertise-is-everything school, and to a degree it may be true. But the tracks collected here by Barry Benson and Nick Sahakian provide evidence of something else entirely: that along with technical expertise in spades, Cobham had soul, groove, and a handle on how powerful rock & roll could contribute to jazz improvisation if harnessed in the right way. And every single track on these two discs does exactly that and more. For starters there's the majority of Cobham's classic debut, Spectrum, that featured contributions from guitarists Tommy Bolin (speaking of rock & roll), John Scofield (as he has never been heard since), and John Tropea as well as Jan Hammer from the Mahavishnu band. Spectrum's two finest tracks, "Quadrant 4" and "Stratus," are screaming jazz-rock with just the right hints of funk and groove that would become the hallmarks of Cobham's records after that. Also on "Stratus" it's interesting to note that Cobham and Frank Zappa were going for the same keyboard sounds simultaneously, and not just sonics, but phrasing. The sounds were perhaps derived from the two using the same session players including George Duke, the Brecker Brothers, and Alfonso Johnson among others. All of disc one is pure gold; there's not a weak second on it. And for that matter, disc two is solid as well; it's just that by the time these sets were recorded, Cobham's musical focus had shifted from jazz-rock to jazz-funk. The same tom-tom rolls are there, the constant rim shifts, and shaking, thunderous bass drum blasts and pops. Because of the exhilaration on disc one what comes across clearer on the second set is just how intricate and compelling Cobham is as a composer. These are scripted roles, with plenty of room for improvisation in the middle and often at the beginning and end; they are wonders of musical sophistication and raw gritty funky soul. In addition to almost three hours of crushingly innovative music, the liner notes are chock full of an extensive bio, critical, and session notes, a few outtakes and unreleased cuts and a cool clear plastic slipcase. This set is a document from a classic time in the evolution of both rock and jazz, and should be regarded as an essential purchase by fans not only of Cobham's but Bolin's, Scofield's, Miles Davis' electric era, the Breckers', and of course Mahavishnu's. Zappa fans from the era would also appreciate much of the material here.

Cobham was one of the building blocks of jazz-rock fusion. By the time he started his recording career in 1976, he had been part of three of the most important bands of the '70s, Miles Davis's groups, Dreams, and the Mahavishnu Orchestra. A favorite of guitar players and fans because of the way he drives the string players, his debut album, Spectrum, is pure jazz-rock (featuring the late rock guitarist, Tommy Bolin, from the James Gang and Deep Purple). Bolin's tracks are at the beginning of this 24-track, two-CD retrospective and a very young John Scofield, is featured on guitar at the end of the CD. Back in the days before he joined Miles Davis, Scofield was part of Cobham's band that he co-led with George Duke, and of course, that band's funk classic, "Do What You Wanna" is included. In between those bookends are stunning examples of what it means to be a powerful drummer and to drive a band. There are liberal samplings of Cobham's solos, as well as tracks with his group that featured his partners from Dreams, the Brecker Brothers. Fusion lovers can't go wrong here, while smooth-jazz folks could gain a better appreciation of the roots of that genre.

The Good Book of fusion drumming, culled from a half-dozen years in the life of Billy Cobham. After serving in drum corps, the High School of Music and Arts, and the Army band, as well as gigging and recording with Kenny Burrell, George Benson and Junior Mance, Panamanian native Cobham was finally recommended by Jack DeJohnette to Miles Davis in 1969. Things took off like a bullet from there, and soon enough Cobham was firmly established as the Hot New Thing in jazz-rock drumming. He was also noted as a talented composer at the time.
Rudiments picks up following his tenures with Miles, Dreams and Mahavishnu Orchestra. Cobham debuted on Atlantic in 1973 with Spectrum and a band that included Mahavishnu keyboardist Jan Hammer, session bassist Lee Sklar, and young guitar wizard Tommy Bolin (who replaced Joe Walsh in the James Gang and Ritchie Blackmore in Deep Purple). The first five tracks on Disc 1 are drawn from those sessions, and they illustrate just what all the fuss over Cobham was about. His use of dual or triple bass drums presaged Alex Van Halen by years; in fact, Cobham is an acknowledged influence on most 70s and 80s hard-rock drummers. The hell-on-wheels “Quadrant 4” sets the pace for much of this anthology. Bolin is more honestly blues-oriented than John McLaughlin was, and this track sets the blues caravan rolling downhill without brakes. The long, tense synth and drums intro of “Stratus” collapses into a soulful, Zappa-ish guitar theme. The next three tunes are of similar temperament.

The remaining seven tracks of Disc 1 feature larger ensembles that include the Brecker Brothers and guitarist John Abercrombie. Randy and Mike Brecker poured more fuel on the Cobham fire, abetted by trombonist Glenn Ferris and keyboardists Milcho Leviev and George Duke alternately. “Spanish Moss” and “Flash Flood” are two sections of a tone poem powered by Latin percussion and urgent electric piano. The “Solarization” suite, “Lunarputians”, “Moon Germs” and “Solar Eclipse” (note Cobham’s preoccupation with things cosmic and atmospheric) continue the grand evolution of his pumped-up soul-funk-rock-jazz hybrid. The last track is perhaps the most dated of the bunch, rather like a Rocky soundtrack edit.

Disc 2 continues the odyssey with similar personnel and vibe. “Shabazz”, inspired not by Malcolm X but a chain of bakeries, begins with another thunderous drum solo and ends up in the same kind of groove as much of the prior disc. Things took a heavier turn with A Funky Thide of Sings, his crossover hit of ’75 that ushered in John Scofield. The Breckers’ “Some Skunk Funk” upped the ante of power fusion with its outstanding horn arrangement. “A Funky Thide...” has its roots in martial music as much as the funk. The following year, the horns were gone and Cobham was back to a quartet format. Scofield, bassist Doug Rauch and keyboardist George Duke (under the pseudonym “Dawilli Gonga”) recorded Life & Times, from which tracks 6-8 are drawn. As hot as the horn section was, the personnel reduction brings welcome breathing room for everyone to stretch out. Organist Allan Zavod makes an evocative guest spot on the title track, and Scofield’s own personality begins to emerge more fully.

Next are three tracks by the Cobham/Duke Band, including Scofield again and bassist Alphonso Johnson. Duke’s personal aesthetic, filtered through his experience with Zappa, dominates these tracks but Cobham is not to be denied, particularly his double-bass adventure on “Juicy”. The final track, “Arroyo”, marked the end of Cobham’s Atlantic contract in 1978. It’s back to the quartet again, with John Williams in place of Doug Rauch, and the melancholy vibe of the track indicates the closing of doors and moving on.

http://jazz-rock-fusion-guitar.blogspot.com/search?q=Billy+Cobham

Tracks Listing:

Disc 1:
01. Quadrant 4 (4:32)
02. Stratus (9:52)
03. Anxiety/Taurian Matador (4:49)
04. Snoopy's Search/Red Baron (7:44)
05. All 4 One [Outtake]* (4:16)
06. The Pleasant Pheasant (5:23)
07. Spanish Moss (4:10)
08. Flash Flood (5:12)
09. Solarization: (11:11)
  a) Solarization
  b) Second Phase
  c) Crescent Sun
  d) Voyage
  e) Solarization Recapitulation
10. Lunarputians (2:33)
11. Moon Germs (4:57)
12. Total Eclipse (5:58)

Total Time 1:10:30 (70.5 mins)

Disc 2:
01. Shabazz (13:49)
02. Some Skunk Funk (5:11)
03. A Funky Thide Of Sings (3:41)
04. Panhandler (4:07)
05. Neu Rock N' Roll [Outtake]* (6:28)
06. Life & Times (7:01)
07. 29 (2:35)
08. Earthlings (5:07)
09. Hip Pockets - The Billy Cobham/George Duke Band (7:10)
10. Juicy - The Billy Cobham/George Duke Band (6:53)
11. Do What Cha Wanna - The Billy Cobham/George Duke Band (5:00)
12. Arroyo (4:13)

Total Time 1:11:11 (71 mins)

*Indicates previously unreleased tracks

Personnel:

- Billy Cobham / percussion
- Jan Hammer / keyboards (Disc 1 Tracks 1-5)
- Tommy Bolin / guitar (Disc 1 Tracks 1-5)
- Lee Sklar / bass (Disc 1 Tracks 1-5)
- George Duke / keyboards (Disc 1 Tracks 6-8, Disc 2 Tracks 9-11)
- John Abercrombie / guitar (Disc 1 Tracks 6-12)
- John Williams / bass (Disc 1 Tracks 6-8, Disc 2 Track 12)
- Lee Pastora / latin percussion (Disc 1 Tracks 6-8)
- Milcho Leviev / keyboards (Disc 1 Tracks 9-12 & Disc 2 Tracks 1-5)
- Alex Blake / bass (Disc 1 Tracks 9-12, Disc 2 Tracks 1-5)
- Randy Brecker / trumpet (Disc 1 Tracks 6-12, Disc 2 Tracks 1-5)
- Garnett Brown / trombone (Disc 1 Tracks 6-8)
- Michael Brecker / woodwinds & saxes (Disc 1 Tracks 6-12, Disc 2 Tracks 1-5)
- Glenn Ferris / trombones (Disc 1 Tracks 9-12, Disc 2 Tracks 1-5)
- John Scofield / guitar (Disc 2 Tracks 2-12)
- Dawilli Gonga / keyboards (Disc 2 Tracks 6-8 & 12)
- Alfonso Johnson / bass (Disc 2 Tracks 9-11)

...and countless additional musicians (who contributed to a lesser degree and are unfortunately too many to list)

Chris Potter - 2002 "Traveling Mercies"

Chris Potter’s “Traveling Mercies,” the followup to his highly acclaimed “Gratitude” album, is in many ways better, but in all ways more adventurous. “Gratitude” paid saxophone debts to the past with tunes dedicated to Charlie Parker, John Coltrane and Wayne Shorter, but on the new release, Potter is in a traveling mood — ready to explore. Part of his success comes from his ability to simultaneously face jazz’s past and future.

Potter wastes no time getting into a strong electric mode, with guitarist John Scofield sitting in on the first track, “Megalopolis.” They lay down the lead line with a quirky offbeat and plenty of energy. The band, whose players — keyboardist Kevin Hays, bassist Scott Colley and drummer Bill Stewart — are all top-notch, make complicated rhythms seem easy. They kick into 4/4 for a couple of tunes, but stick with a freer rhythmic structure that offers both tension and release. “Snake Oil,” for example, stops and starts, gets going, then hesitates, fast-forwards, and then takes a couple of steps back. It’s dizzying, but intriguing.

Other tracks, though, are as pretty and lyrical as any jazz around. “Invisible Man” has a lonesome melody that Potter renders on flute. The delicacy of the tune creates a faraway, natural space for everyone in the band to solo in careful whispers. In contrast, the meaty version of the traditional spiritual “Go Children” digs into hand-clapping, straight-up pleasure, the bass lines and chord changes tempering the gospel with gritty blues.

“Migrations” brings together his musical journeys, containing a little of everything. It starts with a funky, guitar-fueled melody, but then transforms entirely, easing into a reflective tempo that is light and otherworldly. These abrupt shifts may put off listeners who are more attuned to a consistent, straight-ahead beat, but the textures and nuances flow together effortlessly under Potter’s sax lines.

At times, he pushes jazz to its limits, but always returns to a satisfying coherence. This musical sense, along with his straight-ahead sax playing, has made him one of the most compelling young jazz players around. Acoustic-minded jazz fans may prefer the traditional flavor of “Gratitude,” but the electric guitar, well-chosen sampling and fresh arrangements show that “Traveling Mercies” looks in a different direction.

Chris Potter gets more and more adventurous. On this follow-up to the strong Gratitude, the tenor and soprano saxophonist beefs up strong writing and heady group interplay with occasional sampled sounds and miscellaneous textures like clavinet and reed organ. True to form, he plays additional wind instruments -- alto flute and bass clarinet in this case -- and isn't afraid of overdubbing them to create lush orchestration, on tracks like "Snake Oil" and "Any Moment Now." On the haunting "Invisible Man" he even doubles the alto flute melody with his singing voice. Not until the fifth track, a Meters-like adaptation of the spiritual "Children Go," do you hear a 4/4 tempo; loping lines over odd meters prevail, with pianist Kevin Hays, bassist Scott Colley, and drummer Bill Stewart expertly laying down the edgy grooves. (Like on Gratitude, Hays doubles on Fender Rhodes.) John Scofield contributes tart solos on three tracks, while Adam Rogers adds nylon-string and slide colors on two others. The sweeping, Metheny-esque harmonies of "Highway One" bring the program to a head, followed by a closing bass clarinet/piano duo on Willie Nelson's "Just as I Am." As a jazz record, Traveling Mercies is very much a product of its post-millennial times, but it still comes across as highly individual. Its value will be lasting.

Walking in jazz saxophonist Chris Potter's shoes on his new recording Traveling Mercies may prove to be a rewarding experience for the exploratory listener. The multitalented musician has covered a lot of ground on recent tours and sessions with acclaimed recordings such as the Dave Holland Quintet's Not for Nothin' and Steely Dan's Two Against Nature. His skill as musician, composer, and arranger comes to the forefront on Traveling Mercies to give the listener a glimpse of the musical roads he has traveled so well.

The idea behind the new recording comes from the artist's reflections of recent tours as a bandleader and sideman. The listener will receive a musical itinerary that is layered with different textures and environments, which offers a modern jazz mentality. This is a departure from his previous recording Gratitude which paid homage to great saxophonists such as John Coltrane and Charlie Parker. The music now infuses elements such as sound samples, electric keyboards, guitars, and various elements to create a kaleidoscope of sound.

Potter possesses a strong tenor sound, which is throaty and deep with meaning, but it's a real treat to hear him on bass clarinet, flute, and odd instrumentation such as the reed organ. Combine this with exceptional compositional skills, and choice musicians; Traveling Mercies is a cut above the rest. Guitar wizards, John Scofield and Adam Rogers enhance the mix with progressive playing on many of the selections. Kevin Hays provides nice work on the piano and Fender Rhodes, while bassist Scott Colley and drummer Bill Stewart are a tried and true formula for tight rhythms. Highlights abound on the recording such as the atmospheric "Highway One" and the multi-textured "Any Moment Now," which is a testament to Potter's arranging skills. The recording concludes with the serene "Just as I Am," which features a lovely piano and clarinet duet.

Highly recommended.

Track Listing:

01 Megalopolis;
02 Snake Oil;
03 Invisible Man;
04 Washed Ashore;
05 Children Go;
06 Any Moment Now;
07 Migrations;
08 Azalea;
09 Highway One;
10 Just as I Am.

Personnel:

Chris Potter -tenor and soprano saxophone, alto flute, bass clarinet, reed organ, clavinet, sampler, percussion, voice;
John Scofield -guitar;
Adam Rogers -acoustic and slide guitar;
Kevin Hays -piano, Fender Rhodes, clavinet;
Scott Colley -bass;
Bill Stewart -drums

John Scofield - 1978 [1988] Rough House

Rough House is a studio album by jazz musician John Scofield.

Another album, another band, another chance for the restless, itchy guitar player in his mid-twenties and who was seemingly always seeking renewed challenges to catalyze his youthful bursts of testosterone; because, and  as the title suggests, “Rough House” proposes no effortless solutions; fresh from a series of high-profile collaborations such as an extended stint with the George Duke/Billy Cobham band or a participation in a Charles Mingus project, here is Scofield with his, already at the time,  instantly recognizable, slightly distorted semi-acoustic guitar tone,  extraordinaire ability to improvise intelligent and thoughtful, yet brimming with excitement and passion ,lengthy and inventive solos and owner of an articulate and sharp phrasing that made each note sing.

The album consists of 5 Sco compositions and the vigorous and exuberant “Triple Play” (with its head stated in unison by guitar, piano and bass, hence the title, and which Sco channels into a  Rhythm & Blues inflected section where he can explore alternative instincts) written by seasoned pianist, and the band’s senior member Hal Galper, whose style bears strong McCoy Tyner references and who albeit showing a tendency to double-time tranquil solos that don’t seem to be his terrain of election, strongly contributes to the interactive dynamism of the 4tet which also counts with bass player Stafford James, and the 22 years old Adam Nussbaum, the group’s junior then at career start but owner of valuable arguments and who knew both how to trade bars with the band as on “Ailleron” and how to maintain exciting duet conversations with the leader at airplane speed as on “Air Pakistan”.

Putting his Funky instincts on hold - but not the biting edge-, Sco penned a post-bop motivated set, brisk and turbo-charged as on the title track or “Ailleron”, or flirting with more or less translucent, delicate and introspective leanings as on “Alster Fields” and “Slow Elvin”, ambiances he caresses, nurtures and excites with tasty bends, fragile trills, inspired flourishes and snappy meaningful licks.

Flawless, entertaining, classy, vigorous  and finger-snapping this  seems to be a rather obscure album in Scofield’s discography as I’ve just noticed when opening his RYM page; yet it’s worth every penny you’ll pay for it either you’re a fan of his peculiar style or just a lover of  guitar lead serious and juicy music.

Track listing

1. "Rough House"
2. "Alster Fields"
3. "Ailleron"
4. "Slow Elvin"
5. "Triple Play"
6. "Air Pakistan"

Personnel

• John Scofield - guitar
• Hal Galper - piano
• Stafford James - bass
• Adam Nussbaum - drums

Chris Potter - 1997 "Unspoken"

Twenty-seven year old reed man Chris Potter made a big splash on his 1992 debut as a leader for Criss Cross. He showed remarkable promise not only in tenor sax work, but also on alto, soprano, bass clarinet and alto flute. On this one he sticks to tenor and soprano, but his playing is no less fluent and capable. An all-star lineup joins the former Steely Dan and Joe Henderson sideman for this date: John Scofield on guitar, Dave Holland on bass, and Jack DeJohnette on drums. All four are in top form for this album, which manages to be warm, smooth, inviting, and adventurous all in one package.
Potter shows that he's been doing his homework. "Wistful," the opening track, veers perilously close to Coltrane Imitator Wasteland, but Potter skirts the edge of homage without lapsing into slavish regurgitation. "Hieroglyph" recalls Coltrane on soprano, complete with a tasty proto-world music ostinato from Holland, but again, Potter's playing is fresh and involving. "Seven Eleven," on the other hand, makes you wonder if Chris was digging into his Ornette collection. Then "Amsterdam Blues" starts with an unaccompanied tenor of such quality that I became sure I'd find some of the works of Mr. Sonny Rollins over at Chris's house. Still and all, Potter is a player of enormous talent who is already far along in synthesizing these and other influences. This is a fine album, but I'll bet I'll like his release of 2007 even better.
The highlight here is "Et Tu, Brute?", the album's most striking track. Scofield contributes some scalding guitar licks to a rhythmically complex workout requiring some careful listening by the quartet. Of course, these guys are old hands, and they come through. With no loss of energy, the lovely title track follows, featuring some tasty arco by Holland and passionate playing by everyone. "Time Zone" is as far out as this one gets, with some remarkable variations of mood and tempo a free section of great vigor. Potter is clearly the star here, proving he's worthy of the company he keeps.
The legendary trumpeter Red Rodney loved this "kid:" "This kid is exactly what I like to hear in a kid. He sucked up everything like a sponge, but his sound is original; his articulation is different from anybody; his harmonic knowledge is profound." Red was right. The kid has a great tone, great chops, and by the way, he wrote all the tunes. While this is relatively common these days, Potter's tunes show a wealth of good sense, imagination, and care. He's paid attention to architectonics, and it shows.
Unspoken is a solid album from start to finish. The sidemen are top-notch throughout, and the leader doesn't disappoint. I'll be interested to check out Chris Potter's future work.

Working with drummer Jack DeJohnette, bassist Dave Holland, and guitarist John Scofield, saxophonist Chris Potter recorded his most adventurous record to date with Unspoken. Although his powerhouse rhythm section sometimes overwhelms him, Potter flexes more creative muscle throughout Unspoken, resulting in an engaging, frequently provocative listen.

 Tracklist

1     Wistful     7:45
2     Seven Eleven     9:08
3     Hieroglyph     6:00
4     Amsterdam Blues     7:50
5     Et Tu, Bruté?     7:12
6     Unspoken     5:41
7     No Cigar     5:18
8     Time Zone     8:55
9     New Vision     7:11

Personnel:

Chris Potter     Composer, Liner Notes, Primary Artist, Sax (Soprano), Sax (Tenor)
Jack DeJohnette Drums
Dave Holland     Bass
John Scofield     Guitar