A trailblazer of '80s fusion, perennial poll-winner, bandleader, master improvisor, and major player on the jazz scene for
the last decade, guitarist John Scofield is knee-deep in the funk on his second Verve recording, A Go Go.
Accompanying the guitar great on this syncopated summit meeting are the premiere groovemeisters of the neo-funk
scene, Billy Martin, John Medeski, and Chris Wood. Together they've fashioned a collective groove that drives
shake-that-thing funk to the core without sacrificing an ounce of satisfaction for the brain.
An organic session that hangs together on a mutual love of groove-oriented music, A Go Go stands as Scofield's beat
manifesto. "'A Go Go' is a phrase that reminds me of what the rock 'n' roll movement was when I first started checking
out the music," he recalls. "Great clubs like Whiskey A Go Go and Cafe A Go Go - it's all tied into my first cognizant
thoughts about rhythm."
It was clear to Scofield from the outset of the sessions that something rare and exciting was going to come out of this
collaboration. "We got together and from the first note the chemistry was there," says Scofield. "They just put a vibe
on all my tunes, and a lot of times it was unspoken. They just started to play and they really added a unique element to
my compositions in a way only that kind of group can."
The powerful sound that this group creates can be attributed to both the extraordinary talents of the individual players
and the group's raw synergy. "Each member of the trio is a stellar musician in his own right, and together, they're
unbeatable," notes Scofield. "I'm a drum fanatic and Billy Martin's got a groove and a half," he continues. "Chris
Woods, the bass player, plays the right thing every time, and John Medeski is amazing. He can cover so much and he
can sound like two musicians at the same time. He's definitely in the tradition of the great jazz organ players but his vibe
is so different because he's such an original," he observes.
Billy Martin, John Medeski, and Chris Wood share the same admiration for the session's fearless leader. "Scofield's
really got that fat eighth note thing happening," says Medeski, "and I think it really comes out of loving New Orleans
music. You don't hear a lot of that these days but he's an absolute master at it. So, he did his thing and we played his
music the way we play, trying to create a little vibe within the framework of each tune."
"He's also got a really nice rhythmic feel," adds Martin. "For a drummer, that's really great, because I could just get the
feel from his playing. It was a very simple, natural process in that way. His affinity for groove music really made a great
connection."
"We've been together so long that we have developed our own kind of language," notes Woods. "And [Scofield] was
wide open to that. He'll show you an idea and then wants you to play it your way. He's definitely aware of the
personality factor in making music together. Plus, John was going for a raw sound, which fit into our thing pretty well."
A Go Go contains just the right balance between polished lyricism and a jagged edginess, with Scofield's unabashed
use of stinging guitar growls and distortion. "The nasty factor is a great thing that the guitar does and it's something
that I do too," he acknowledges. "To be able to do that on every tune is somehow liberating. So the entire session felt
good." From the cosmic-earthy title track, to the infectious groover "Chank", the bent string bite of "Hottentot" and
"Boozer", and the heated slinkiness of "Southern Pacific" and "Chicken Dog", that no-holds-barred nasty quality
comes across throughout A Go Go. Still firmly within the funk and groove genre, Scofield punctuates the passion with
auditory rest stops; the eerie soundscapes "Kubrick" and "Deadzy", the subtle and subdued "Green Tea", and the
bright, joyous "Jeep on 35".
Born in Ohio on the day after Christmas, 1951, Scofield was raised in suburban Wilton, Connecticut. He picked up guitar
at age 11, inspired by rock and blues players. A local guitar teacher introduced him to the music of Wes Montgomery,
Jim Hall, and Pat Martino, thereby sparking a lifelong interest in jazz. Scofield attended the Berklee College of Music in
Boston from 1970 to 1973, until his quick move into the public eye with the Cobham/Duke Band. Scofield toured and
recorded with his own groups as well as a wide variety of bandleaders (Mingus, Mulligan, Burton, McShann, etc).
Everything changed when in 1982, he began a high exposure three-year stint with Miles Davis. His Miles credits include
three recordings where Scofield supplied several compositions as well as his guitar work.
Never at rest, Scofield has recorded over 24 critically acclaimed albums as a leader. These recordings, many already
classics, include collaborations with contemporary favorites like Pat Metheny, Bill Frisell, Joe Lovano, and the late
Eddie Harris. As a featured guest, he has shared his unique guitar sound with major talents including Herbie Hancock,
Chick Corea, Joe Henderson, McCoy Tyner, and Jim Hall, among others.
Scofield's Verve debut last year was a surprising departure from the electric jazz path that he had paved for himself over
the previous 20 years. Appropriately titled Quiet, it showcased the guitarist on acoustic guitar in the company of an
expanded horn ensemble. The album struck a chord with listeners for its elegant, understated beauty and lyricism while
enhancing Scofield's reputation as a first-class arranger and composer.
From the sublime to the greasy, Scofield returns to his earthy roots with a vengeance on A Go Go, his electrifying
collaboration with Billy Martin, John Medeski, and Chris Wood. "I wanted to funk out again," he says. "And I thought
it would be perfect to do it with these guys because they are deeply into that same thing I've been loving forever."
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