Guitarist John Scofield's This Meets That is a trio recordsort of. While Scofield has old friends and collaborators Steve Swallow and Bill Stewart on board as his rhythm section, the guitarist also enlisted quite a horn section for this venture: Roger Rosenberg, Lawrence Feldman, Jim Pugh and John Swana add a harmonic lushness and punch to the arrangements.
The originals on the disc are classic Scofield. While there is plenty to please jam-band fans, jazz guitar aficionados will be in six-string heaven as well: "The Low Road" is a funky, swinging track that manages to be melodic and biting at the same time; "Down D" lopes along in drop D tuning and "Heck of a Job," a sarcastic reference to the government's handling of the Hurricane Katrina aftermath, displays a groove taken straight from New Orleans.
The cover tunes prove to be interesting, diverse choices. Country crossover star Charlie Rich's hit "Behind Closed Doors" brings a spaciousness and simplicity that is welcome diversion midway through the album. Fellow guitarist Bill Frisell makes an appearance on a reworking of the 1960s classic "House of the Rising Sun"; his tremolo-laden guitar adds a touch of spaghetti western ambience. The CD closes with the Rolling Stones hit "Satisfaction," one of the first songs the 56-year-old Scofield learned on guitar. This energetic arrangement captures his essence, a player who likes to wander between musical worlds.
Track Listing: The Low Road; Down D; Strangeness in the Night; Heck of a Job; Behind Closed Doors; House of the Rising Sun; Shoe Dog; Memorette; Trio Blues; Pretty Out; I Can
Personnel: John Scofield: guitar; Steve Swallow: bass; Bill Stewart: drums; Roger Rosenberg: baritone saxophone, bass clarinet; Lawrence Feldman: tenor saxophone, flutes; Jim Pugh: trombone; John Swana: trumpet, flugelhorn; Bill Frisell: tremolo guitar (6).
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
Login to your All About Jazz member account to submit articles and press releases, upload images, edit musician profiles, add events and business listings, communicate with other members via personal messages, submit inqueries or contribute any content.