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Jazz Articles about John Scofield

444
Interview

John Scofield: Peaceful Pursuits

Read "John Scofield: Peaceful Pursuits" reviewed by John Kelman


Sometimes a recording comes together easily, with a minimum of muss or fuss. Other times, life seems to conspire against it, but that doesn't necessarily mean it doesn't get done, or that it suffers as a result. Sometimes, in fact, it can make the end result even better. For John Scofield-- one-third of a power trifecta of guitarists, also including Pat Metheny and Bill Frisell), who emerged in the mid-1970s to become some of their generation's most influential and highly ...

244
Album Review

John Scofield: A Moment's Peace

Read "A Moment's Peace" reviewed by John Kelman


In a career just entering its fifth decade, John Scofield may have covered a lot of stylistic territory—from the burning modality of Rough House (Enja, 1978), funkified fusion of Blue Matter (Gramavision, 1987) and N'awlins leanings of Piety Street (EmArcy, 2009), to jamband workouts like A Go Go (Verve, 1998), burning modern mainstream on Time On My Hands (Blue Note, 1990) and the contemporary classicized Scorched (Deutsche Grammophon, 2004)—but if a single word had to be chosen to describe the ...

Album Review

John Scofield: Out Like a Light

Read "Out Like a Light" reviewed by AAJ Italy Staff


La ristampa di questo album del 1981 del notissimo chitarrista John Scofield ci consente di fare il punto sulla carriera di uno dei nomi di punta del panorama jazzistico degli ultimi trent'anni. All'epoca della registrazione di questo eccellente album in trio Scofield non era ancora approdato alla corte di Miles Davis, ma era già ben noto fra gli appassionati della chitarra elettrica, come una delle voci emergenti di quel periodo, assieme a Pat Metheny e a Bill Frisell. In questi ...

299
Live Review

John Scofield & Joe Lovano Quartet in Albany, NY

Read "John Scofield & Joe Lovano Quartet in Albany, NY" reviewed by R.J. DeLuke


John Scofield & Joe Lovano QuartetThe Egg, Albany NYJanuary 30, 2011 Catching the John Scofield & Joe Lovano Quartet wasn't just a case of experiencing two remarkable improvisers exercising their art, though there was that. With the incessant, fabulous rhythms of drummer Bill Stewart, and the rock-solid bottom supplied by bassist Matt Penman, there was great group synergy. Even though Scofield is one of the finer jazz guitarists and Lovano is a saxophonist with few ...

Album Review

Metropole Orkest - John Scofield - Vince Mendoza: 54

Read "54" reviewed by AAJ Italy Staff


Non è facile attribuire a qualcuno in particolare questo ottimo album. Apparentemente il titolare dovrebbe essere l'ampia formazione olandese Metropole Orkest che dal 2005 vede Vince Mendoza come direttore artistico e arrangiatore principale. Allo stesso tempo il ruolo dell'ospite John Scofield è assolutamente centrale, sette brani su nove sono scritti da lui, gli altri due sono stati scritti da Vince Mendoza in occasione di alcune precedenti collaborazioni con il chitarrista americano che risalgono addirittura agli inizi degli anni novanta. Ce ...

904
Extended Analysis

Metropole Orkest / John Scofield / Vince Mendoza: 54

Read "Metropole Orkest / John Scofield / Vince Mendoza: 54" reviewed by John Kelman


Metropole Orkest / John Scofield / Vince Mendoza 54 Emarcy 2010 Guitarist John Scofield's shared history with Vince Mendoza dates back to the composer/arranger/conductor's Start Here (World Pacific, 1990) and Instructions Inside (EMI/Manhattan, 1991)--two criminally out of print gems that provided early evidence of Mendoza's distinctive harmonic language, compositional perspicacity and innate ability to get the best out of an ensemble, regardless of the size. Now an in-demand, Grammy Award- winning producer/arranger who has worked ...

315
Album Review

John Scofield: Shinola

Read "Shinola" reviewed by Tom Greenland


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. ...


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