DAVUD FRIESEN — Two for the Show (1993) APE (image+.cue), lossless

David Friesen's Two for the Show is a series of brilliant duets featuring the bassist with six different musicians. Not only does he set an incredibly fast tempo for tenor saxophonist Michael Brecker as he introduces Sonny Rollins' "Airegin," but his complex line inspires Brecker to some of his best playing of his career. The perennial favorite "Old Folks" finds Friesen taking a back seat to the brittle, very personalized guitar of John Scofield. Uwe Kropinski sticks to acoustic guitar for his two tracks, including Friesen's adventurous "On the Road With Jazz" and Kropinski's gypsy-flavored "Pianola." "Alone Together" opens with alto saxophonist Bud Shank unaccompanied before Friesen's imaginative bassline weaves in underneath him in a spellbinding improvisation. Friesen's duets with frequent partner Denny Zeitlin are always magical; their two tracks, taken from a 1992 gig at the Jazz Bakery, include the bassist's lyrical ballad "In Times Past," while the pianist's bittersweet ballad "Maybe in Spring" also packs an emotional punch. Their chemistry together, as always, is perfect. But it is hard for anyone to upstage Clark Terry, whose instantly recognizable sound commands attention. Both Terry (on flugelhorn) and Friesen pull all stops on a brisk take of "I Want to Be Happy"; Terry switches to muted trumpet for the understated swinger "Breeze." It is hard to imagine David Friesen and his guests wanting to stop recording after two tracks during each session, because it's obvious that they were having a great time and it would have been easy to imagine an entire CD by the bassist with any one of the artists. Here's hoping that there are still tracks left in the vault for a follow-up release. Ken Dryden
Tracklist :
1    Airegin 4:56
Written-By – Rollins
2    True Blue 7:48
Written-By – Friesen
3    I Want To Be Happy 2:55
Written-By – Caeser, Youmans
4    In Times Past 7:12
Written-By – Friesen
5    Alone Together 4:46
Written-By – Dietz/Schwartz
6    On The Road With Jazz 4:53
Written-By – Friesen
7    Signs And Wonders 6:04
Written-By – Friesen
8    Old Folks 6:15
Written By – Hill / Robinson
9    Breeze    5:18
10    Maybe In Spring 7:46
Written-By – Zeitlin
11    Double Take 3:14
Written-By – Friesen
12    Pianola 4:10
Written-By – Kropinski
Credits :
Acoustic Guitar – Uwe Kropinski (tracks: 6, 12)
Alto Saxophone – Bud Shank (tracks: 5, 11)
Electric Guitar – John Scofield (tracks: 2, 8)
Flugelhorn, Trumpet – Clark Terry (tracks: 3, 9)
Grand Piano [Acoustic] – Denny Zeitlin (tracks: 4, 10)
Tenor Saxophone – Michael Brecker (tracks: 1, 7)

MEDESKI, SCOFIELD, MARTIN & WOOD - Out Louder (2006) 2CD / FLAC (tracks+.cue), lossless

Out Louder reunites keyboardist John Medeski, drummer Billy Martin, and bassist Chris Wood with guitar great John Scofield, who employed the trio on his 1997 A Go Go album. That record opened the creativity gates for both the trio and Scofield, who fed off and goaded each other into territories neither party had previously gone separately. Out Louder isn't so much a rematch as an upgrade. Both Scofield and MMW have continued to explore in the near-decade since A Go Go, and they come to this project with a greater understanding of their collective abilities as well as a willingness to explore the possibilities further. Not unexpectedly, the four musicians work hard here, but they also have a ton of fun. The opening track, "Little Walter Rides Again," serves notice that this isn't going to be an exercise in showing off but rather four envelope-pushing musicians picking each other's brains and seeing what they find. An easygoing blues vamp with a funky, Memphis-style beat, the track keeps the quartet reined in while simultaneously allowing each musician to dance around a bit within its structure. That idea of holding back doesn't last long, however, as that leadoff gives way to "Miles Behind," a nod to electric Miles Davis minus the trumpet. Although the players, particularly Medeski and Scofield, take several opportunities to reach for the outside fringes, Out Louder never becomes inaccessible, even during its freer-jazz moments. "Tequila and Chocolate," for example, takes up with a simple bossa nova rhythm that eventually goes wildly astray without losing touch with its form, and the John Lennon tune "Julia" (which, honestly, borrows only minimally from the original melody) is a soft, sweet, and sensual ballad that never strays even close to the edge yet still manages to feel edgy. That's not to say that those looking for the heavy jams will be disappointed. "What Now" finds Medeski and Scofield challenging each other as if they were Keith Emerson and Jimi Hendrix having it out at some late-night club, and "Down the Tube," though essentially a simple funky blues, flirts with psychedelia, Scofield turning in some of his most startling playing of the set. The session ends with a virtually unrecognizable improv on Peter Tosh's reggae anthem "Legalize It" that spotlights Martin and Wood in lockstep groove. If ever MMW and Scofield decided to make something more permanent of their meet-ups, one can only guess where else they might go. by Jeff Tamarkin
Tracklist 1 :
1    Little Walter Rides Again    3:55
John Scofield
2    Miles Behind    2:53
Billy Martin / John Medeski / John Scofield
3    In Case The World Changes Its Mind    3:41
Billy Martin / John Medeski / John Scofield
4    Tequila And Chocolate    6:25
Billy Martin / John Medeski / John Scofield / Chris Wood
5    Tootie Ma Is A Big Fine Thing    4:42
Public Domain
6    Chachaça    4:14
Chris Wood
7    Hanuman    6:24
Billy Martin / John Medeski / John Scofield
8    Telegraph    3:55
Billy Martin / John Medeski / John Scofield
9    What Now    4:54
Billy Martin / John Medeski / John Scofield
10    Julia    5:18
John Lennon / Paul McCartney
11    Down The Tube    11:40
Billy Martin / John Medeski / John Scofield
12    Legalize It 3:55
Written-By – Peter Tosh
Tracklist 2 :
1    A Go Go - Live    5:17
2    Cachaca - Live    7:29
3    The Tube - Live    4:19
4    Amazing Grace - Live    6:05
5    Deadzy - Live    6:50
6    What Now - Live    4:19
Credits :
Bass – Chris Wood
Drums, Percussion – Billy Martin
Guitar – John Scofield
Keyboards – John Medeski

JOHN SCOFIELD / JOHN ABERCROMBIE - Solar (1984-1996) APE (image+.cue), lossless

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. by Ken Dryden
Tracklist  
1 Solar 4:03
Written By – Miles Davis
2 Even Steven 6:52
Written By – John Abercrombie
3 Four On Six 6:22
Written By – Wes Montgomery
4 Sing Song 6:19
Written By – John Abercrombie
5 Small Wonder 6:23
Written By – John Scofield
6 I Should Care 6:37
Written By – Axel Stordahl, Paul Weston, Sammy Cahn
7 If You Could See Me Now 5:59
Written By – Tadd Dameron
Credits
Bass – George Mraz
Drums – Peter Donald
Guitar – John Abercrombie, John Scofield
Mandolin [Electric] – John Abercrombie

CHET BAKER - You Can't Go Home Again (1977-2005) RM / APE (image+.cue), lossless

Verve/A&M's reissue of Chet Baker's 1977 album You Can't Go Home Again features the trumpeter/vocalist supported by an all-star band that includes guitarist John Scofield, tenor saxophonist Michael Brecker, and alto saxophonist Paul Desmond in his final recording session. Former Miles Davis sidemen Tony Williams and Ron Carter also add an organic touch to the proceedings and a warm contrast to the electric pianos and Moogs that flow through Don Sebesky's arrangements. Alternate takes of the title track and others including "I'm Getting Sentimental Over You/You've Changed," "The Best Thing for You," and "If You Could See Me Now" make this double-disc set a more complete look at one of Baker's most important latter-day albums. by Heather Phares
Tracklist :
1     Love for Sale 13:03
Cole Porter
2     Un Poco Loco 9:26
Bud Powell
3     You Can't Go Home Again 5:47
Don Sebesky
4     El Morro 14:18
Don Sebesky
Credits :
Alto Saxophone – Paul Desmond (faixas: 3)
Arranged By, Conductor – Don Sebesky
Bass – Ron Carter
Bassoon – John Campo (faixas: 4)
Cello – Alan Shulman, Charles McCracken, Jesse Levy
Clavinet – Richie Beirach (faixas: 1)
Drums – Tony Williams
Electric Bass – Alphonso Johnson (faixas: 1, 2,)
Electric Piano – Don Sebesky (faixas: 2, 3), Kenny Barron (faixas: 2), Richie Beirach (faixas: 1, 2, 4)
Flute – Hubert Laws (faixas: 2)
Flute [Bass], Piccolo Flute – Hubert Laws (faixas: 4)
Guitar – John Scofield (faixas: 1, 2, 4)
Percussion – Ralph MacDonald (faixas: 1, 3)
Producer – Don Sebesky
Tenor Saxophone – Michael Brecker (faixas: 1, 2, 4)
Trumpet – Chet Baker
Violin – Charles Libove, David Nadien, Diana Halprin, Harold Kohon, Marvin Morgenstern, Matthew Raimondi, Max Ellen, Paul Gersham, Rochelle Abramson

ROY HAYNES - Love Letters (2002) APE (image+.cue), lossless

Originally released in Japan on producer Yasohachi Itoh's 88 label, Columbia has licensed several titles from the audiophile label, including this one from veteran hard bop/new thing drummer Roy Haynes. Love Letters gathers an all-star roster, including pianists Kenny Barron and David Kikoski, bassists Dave Holland and Christian McBride, tenor player Joshua Redman, and guitarist John Scofield for a thoroughly solid set of standards. Even as he approaches his eighth decade, Haynes continues to display the drive that has made him an in-demand timekeeper since his tenure with Charlie Parker and Bud Powell. It's evident throughout the entire album, from the rock-ist suggestions of Mongo Santamaria's "Afro Blue" to the poignant take on Horace Silver's "Que Pasa." All of the groupings have their shining moments, but Haynes with Holland and Scofield is a combination that demands to be documented further. Recommended. by Wade Kergan
Tracklist :
1     The Best Thing for You 3:47
Irving Berlin
2     That Old Feeling 6:28
Lew Brown / Sammy Fain
3     Afro Blue 7:15
Mongo Santamaria
4     Qué Pasa 7:31
Horace Silver
5     How Deep Is the Ocean? 6:33
Irving Berlin
6     Love Letters 7:42
Edward Heyman / Victor Young
7     My Shining Hour 5:46
Harold Arlen / Johnny Mercer
8     Stompin' at the Savoy 7:13
Benny Goodman & His Orchestra / Edgar Sampson / Chick Webb
9     Shades of Senegal 2 4:18
Roy Haynes
Credits :
Bass – Dave Holland
Drums – Roy Haynes
Guitar – John Scofield
Piano – David Kikoski, Kenny Barron
Tenor Saxophone – Joshua Redman

MIROSLAV VITOUS - Guardian Angels (1978-1993) FLAC (image+.cue), lossless

Miroslav Vitous has long been one of Europe's premier jazz bassists, while John Scofield is a great American guitarist. Their team-up yields music that is immaculately presented but often deficient in the energy and soul departments. That seems by design; such numbers as "Inner Peace" and "Shinkansen" have subdued arrangements, and the players carefully solo without ever straining or exerting themselves. At other times, Vitous and company move into more of a funk or upbeat style and seem even less sure. Vitous' bass work, especially his acoustic bowing, is marvelous, while Scofield plays in a sharp, concise, impressive manner, although without the characteristic edge and rock/blues stylings. by Ron Wynn
Tracklist:
1 His Meaning / Rising / Resolution 8:30
Written-By – Miroslav Vitous
2 Inner Peace 6:01
Written-By – Kenny Kirkland
3 Guardian Angels 5:45
Written-By – Miroslav Vitous
4 Off To Buffalo 5:07
Written-By – John Scofield
5 Eating It Raw 7:51
Written-By – John Scofield
6 Shinkansen 6:09
Written-By – Kenny Kirkland
Credits:
Bass, Electric Bass, Synthesizer [Mini-Moog, Solina String-ensemble] – Miroslav Vitous
Drums [Yamaha] – George Ohtsuke
Guitar – John Scofield
Music Director – Miroslav Vitous
Piano, Electric Piano [Fender Rhodes, Yamaha CP-70 (electric grand)], Synthesizer [Yamaha CS-50 (polyphonic), Mini-Moog] – Kenny Kirkland
Soprano Saxophone – Mabumi Yamaguchi

MEDESKI, SCOFIELD, MARTIN & WOOD - Juice (2014) FLAC (tracks), lossless

The third studio meeting in nearly 17 years between Medeski, Martin & Wood and guitarist John Scofield has no easy referent to their earlier recordings -- purposely. This quartet sounds like a real band on Juice, which is a mixed blessing. The positive aspect is that this longtime collaboration creates near instinctive communication. This is a much more inside date, though the rhythmic interplay between bassist Chris Wood and drummer Billy Martin is outstanding throughout. There are four covers from the 1960s scattered among the various originals; some work better than others. One is "Sham Time," an Eddie Harris tune. The obvious inspiration, though, is Willie Bobo's version from the 1968 album A New Dimension. This quartet does it justice with spark, crackle, groove, and grease. The driving organ vamp on Scofield's "New London" offers a British rave-up wedded to Brazilian funk and Latin boogaloo. The solos by the guitarist and John Medeski are lyrical, tight, and flow right out of one another. Martin's "Louis the Shoplifter" is populated with killer interlocking salsa grooves between him and Medeski (who evokes Eddie Palmieri's experimetnal side in his playing) amid knotty changes. Wood's bassline develops along the drummer's pumping, double-time snare and syncopated breaks. Scofield's solo roils with serpentine post-bop shards. "Juicy Lucy," a group composition, finds Scofield taking "Louie Louie" as inspiration. Medeski builds on it with excellent montunos, contrasting mid-'60s Latin R&B with early rock & roll. The fingerpopping exchanges between Wood, Martin, and guest conguero Pedrito Martinez are nasty and tight. Wood's "Helium" is the strangest, perhaps most compelling thing here, comprised of angular harmonies, arpeggiated, nearly fusion-esque statements from guitarist and pianist, and a whomping bassline. Martin's forro-esque pulse -- that borders on the martial -- locks it down. The cultural baggage associated with the Doors' "Light My Fire" is too great for even these musicians to transcend, and with a straight rock chart, it feels tossed off. Conversely, the reading of Cream's "Sunshine of Your Love," at nearly 11 minutes, contains an imaginative arrangement that makes the listener almost forget the original. Martin's and Wood's slow, rocksteady reggae groove is downright steamy. Scofield works a spooky blues vamp that unwinds slowly into fragmented solos while Medeski gets swampy on the organ, stating the melody tersely with one hand, and improvising with the other. Finally, engineer Danny Bloom adds a remix with loads of reverb and echo, making it a tripped-out dubwise jam. The guitarist's funky "Stovetop" is an excellent modernist revisioning of post-tropicalia samba jazz with all members finding plenty of room to move inside it, Martinez's congas add fand heat. While Juice is mostly engaging and satisfying, the pervasive "let's just see what happens" approach MSMW took here also has a downside: it delivers a self-contented vibe rather than one of discovery that their previous records revealed in spades. by Thom Jurek 
Tracklist:
1 Sham Time 5:46
Composed By – Eddie Harris
2 North London 6:35
Composed By – John Scofield
3 LouisThe Shoplifter 6:07
Composed By – Billy Martin
4 Juicy Lucy 7:07
Composed By – Billy Martin, Chris Wood, John Medeski, John Scofield
5 I Know You 8:02
Composed By – John Scofield
6 Helium 4:03
Composed By – Chris Wood 
7 Light My Fire 5:36
Composed By – Jim Morrison, John Densmore, Raymond Manzarek, Robby Krieger
8 Sunshine Of Your Love 10:52
Composed By – Eric Clapton, Jack Bruce, Peter Brown
9 Stovetop 5:27

Composed By – John Scofield

10 The Times They Are A-Changin' 3:37
Composed By – Bob Dylan
Credits:
Bass [Basses] – Chris Wood
Drums, Cuica, Talking Drum, Caxixi, Guiro – Billy Martin
Guest [Special Guest], Congas, Guiro – Pedrito Martinez
Guitar – John Scofield
Keyboards – John Medeski

BILLY COBHAM - Inner Conflicts (1977-2014) Fusion Best Collection 1000 – 4 / RM / FLAC (image+.cue), lossless

A solid effort that has been dismissed based upon its associations with two Cobham lemons, Simplicity of Expression: Depth of Thought and B.C., all recorded around the same time. This recording finds Cobham continuing to explore the funk genre; however, the overall mood here is quite darker and more introspective, similar to Crosswinds. "Inner Conflicts" is a haunting song that includes Cobham's experimentation with electronic percussion and synthesizer. "Nickles and Dimes" is a page out of Cobham's early work, while "El Barrio" is heavily influenced by African rhythms. Of note, Prince's former sidekick Sheila E. performs here with her father Pete. The closer, "Arroyo," is another of Cobham's memorable compositions that he continues to perform.  by Robert Taylor
Tracklist 
1 Inner Conflicts 10:49
Programmed By [Synthesizer] – Billy Cobham, John Bowen
Synthesizer, Drums, Percussion – Billy Cobham
2 The Muffin Talks Back 9:52
Bass – Alfonso Johnson
Congas, Percussion [Latin Percussion] – Sheila Escovedo
Drums – Billy Cobham
Keyboards – Don Grolnick
Percussion [Latin Percussion] – Jose Najeira
Timbales, Percussion [Latin Percussion] – Pete Escovedo
3 Nickels And Dimes 7:21
Bass – John Williams 
Drums – Billy Cobham
Guitar – John Scofield
Keyboards – Dawilli Gonga
Trombone – Julian Priester
Trumpet – Randy Brecker
Trumpet, Flugelhorn – Jimmy Owens
Woodwind – Ernie Watts, Michael Brecker
Xylophone, Marimba – Ruth Underwood
4 El Barrio 6:30
Bass – Alfonso Johnson
Congas, Percussion [Latin Percussion] – Sheila Escovedo
Drums – Billy Cobham
Guitar – Steve Kahn
Keyboards – Don Grolnick
Percussion [Latin Percussion] – Jose Najeira
Timbales, Percussion [Latin Percussion] – Pete Escovedo
Trombone – Julian Priester
5 Arroyo 4:15
Bass – John Williams 
Drums – Billy Cobham
Guitar – John Scofield
Keyboards – Dawilli Gonga

MILES DAVIS - Star People (1983-2001) RM / FLAC (image+.cue), lossless

On this 1983 release, Miles Davis rediscovers the blues. He really stretches out on "Star People," making dramatic use of silence and placing each note carefully. "Come Get It" is also memorable although "U 'n' I" (which had the potential to catch on) is only heard in a truncated version. In general Davis is in fine form on this set and, although saxophonist Bill Evans is barely heard from (many of his solos were edited out), the contrasting guitars of Mike Stern and John Scofield hold one's interest. by Scott Yanow
Tracklist:
1 Come Get It 11:01
2 It Gets Better 10:06
3 Speak 8:26
4 Star People 18:43
5 U 'n' I 5:53
6 Star On Cicely 4:26
Credits:
Composed By – Miles Davis
Drums – Al Foster
Electric Bass – Marcus Miller, Tom Barney
Electric Guitar – John Scofield, Mike Stern
Percussion – Mino Cinelu
Tenor Saxophone, Soprano Saxophone – Bill Evans
Trumpet, Keyboards – Miles Davis

MILES DAVIS - Decoy (1984) FLAC (tracks+.cue), lossless

 This rather streaky set of music features Miles Davis with keyboardist Robert Irving III (who has since slipped into obscurity) and guitarist John Scofield contributing most of the compositions and the other solos. There are some moments of interest (Branford Marsalis is heard on some cuts on soprano), but it is doubtful if anyone will be reviving "Robot 415," "Freaky Deaky," or "Code M.D." anytime soon. by Scott Yanow
Tracklist:

1 Decoy 8:33

Arranged By – Robert Irving III
Drums – Al Foster
Electric Bass – Darryl "The Munch" Jones
Percussion – Mino Cinelu
Soprano Saxophone – Branford Marsalis
Synthesizer, Programmed By [Electric Drum Programming] – Robert Irving III
Trumpet – Miles Davis
Written-By – R. Irving III
2 Robot 415 0:59
Arranged By – Miles Davis, Robert Irving III
Percussion – Mino Cinelu
Synthesizer, Bass [Synthesizer Bass], Programmed By [Electric Drum Programming] – Robert Irving III
Trumpet, Synthesizer – Miles Davis
Written-By – M. Davis, R. Irving III
3 Code M.D. 5:56
Arranged By – Robert Irving III
Drums – Al Foster
Electric Bass – Darryl "The Munch" Jones
Guitar – John Scofield
Percussion – Mino Cinelu
Soprano Saxophone – Branford Marsalis
Synthesizer, Programmed By [Electric Drum Programming] – Robert Irving III
Trumpet – Miles Davis
Written-By – R. Irving III
4 Freaky Deaky 4:30
Arranged By – Miles Davis
Drums – Al Foster
Electric Bass – Darryl "The Munch" Jones
Percussion – Mino Cinelu
Synthesizer – Miles Davis
Written-By – M. Davis
5 What It Is 4:32
Arranged By – Miles Davis
Drums – Al Foster
Electric Bass – Darryl "The Munch" Jones
Guitar – John Scofield
Percussion – Mino Cinelu
Soprano Saxophone – Bill Evans 
Trumpet, Synthesizer – Miles Davis
Written-By – J. Scofield, M. Davis
6 That's Right 11:11
Arranged By – Gil Evans, Miles Davis
Drums – Al Foster
Electric Bass – Darryl "The Munch" Jones
Guitar – John Scofield
Percussion – Mino Cinelu
Soprano Saxophone – Branford Marsalis
Synthesizer – Robert Irving III
Trumpet, Synthesizer – Miles Davis
Written-By – J. Scofield, M. Davis
7 That's What Happened 3:31
Arranged By – Miles Davis
Drums – Al Foster
Electric Bass – Darryl "The Munch" Jones
Guitar – John Scofield
Percussion – Mino Cinelu
Soprano Saxophone – Bill Evans 
Trumpet, Synthesizer – Miles Davis
Written-By – J. Scofield, M. Davis
 

MILES DAVIS - You're Under Arrest (1985) FLAC (image+.cue), lossless

Miles Davis's final Columbia recording (other than Aura which was released several years later) includes his straightforward ballad interpretations of Cyndy Lauper's "Time After Time" and the Michael Jackson-associated "Human Nature," two songs he would play in most of his concerts for the remainder of his life. Other tunes (including "You're Under Arrest," "One Phone Call" and "Ms. Morrisine") were quickly discarded. In addition to Davis (who had regained his earlier chops) tenor-saxophonist Bob Berg, guitarist John Scofield and guest John McLaughlin get in a few decent solos on this competent but not overly memorable effort. by Scott Yanow
Tracklist:
1 One Phone Call / Street Scenes 4:36
Performer [Handcuffs] – James Prindiville
Voice [French Policeman] – Sting
Voice [Police Voices, Davis Voices] – Miles Davis
Voice [Polish] – Marek Olko
Voice [Spanish] – Steve Thornton
2 Human Nature 4:30
3 Intro: MD 1 / Something's On Your Mind / MD 2 7:18
4 Ms. Morrisine 4:56
5 Katia Prelude 0:42
Synthesizer [Obxa] – Miles Davis
6 Katia 7:39
Synthesizer [Obxa] – Miles Davis
7 Time After Time 3:39
8 You're Under Arrest 6:13
Organ, Clavinet – Robert Irving III
9 Medley: Jean Pierre / You're Under Arrest / Then There Were None 3:27
Celesta – Robert Irving III
Credits:
Bass – Darryl Jones
Drums – Al Foster (tracks: 1, 7 to 9), Vincent Wilburn, Jr. (tracks: 2 to 6)
Guitar – John McLaughlin (tracks: 4 to 6), John Scofield (tracks: 1 to 3, 7, 9)
Illustration – Miles Davis
Percussion – Steve Thornton
Producer – Miles Davis
Soprano Saxophone – Bob Berg (tracks: 1, 8, 9)
Synthesizer – Robert Irving III
Trumpet – Miles Davis

BENNIE WALLACE - Sweeping Through The City [1984] enja / FLAC (image+.cue), lossless

Tenor-saxophonist Bennie Wallace's first six recordings as a leader (all for Enja during 1978-82) featured his large tone and advanced solos with sparse rhythm sections. Sweeping Through The City was a transitional record that looked toward his upcoming Blue Note dates. Wallace is teamed with the rambunctious trombonist Ray Anderson, guitarist John Scofield, bass, drums and the four-voice gospel group "The Wings Of Song." Although the music looks toward the roots of black music, Wallace and Anderson's consistently wild solos keep the results from ever being predictable. Recommended. by Scott Yanow
Tracklist:
1 Eight Page Bible 7:05
2 On Radio 5 6:57
3 Trouble and Woe 5:15
4 Some Might Think We Are Dancing 4:46
5 Refrain 5:00

Jerry Garcia

6 The Bread Man 4:52
7 Sweeping Through the City 5:51
Wade Denning / Lloyd Marx
Credits
Bass – Dennis Irwin (tracks: 7), Mike Richmond
Drums – Tom Whaley
Guitar – John Scofield
Piano – Pat Conley 
Tenor Saxophone – Bennie Wallace
Trombone – Ray Anderson
Vocals – Cora Hill (tracks: 3, 7), Marybelle Porter (tracks: 3, 7), Pat Conley (tracks: 3, 7)
Vocals, Tambourine – Frances Jenkins (tracks: 3, 7)

BENNIE WALLACE - Sweeping Through The City

 [1984] enja / FLAC (image+.cue), lossless 

O Púbis da Rosa

GOV'T MULE ft. JOHN SCOFIELD — Sco•Mule (1999-2015) 2CD | FLAC (image+.cue), lossless

Of the many shows that Gov't Mule's faithful fans have clamored to have officially released, this is among the most deeply desired. These tapes on double disc were culled from a pair of December 1999 gigs in Georgia where the trio -- guitarist Warren Haynes, bassist Allen Woody, and drummer Matt Abts -- invited ace jazz guitarist John Scofield and keyboardist Dr. Dan Matrazzo to sit in. They were originally intended for release as a live album, but due to Woody's premature death a couple of months later, they were shelved. These shows mark the very first on-stage meetings between Scofield and Haynes, who've played together many times since. Scofield's "Hottentot" opens it all on a groove-laden tip. Abts lays down that taut snare and hi-hat with cracking breaks as the two guitarists state the theme in unison. It unfolds in relaxed fashion and the frontmen really talk to each other over and through the vamp. And though it gets things cooking, it doesn't prepare the listener for the first of two versions of Wayne Shorter's "Tom Thumb," set into motion with a breezy Latin groove. It's a tad faster and looser than the composer's, but far from sloppy. Despite the stellar melodic interplay by the guitarists, this piece is a stunning showcase for Woody's bass playing. His sense of time, elastic swing, and feel was singular among rock musicians who came after Jack Bruce. Sco's solo is full of striking arpeggios while Haynes' is bluesier, edgier. Both set up wonderful chord voicings for one another throughout. Jam fans will flip for the covers of James Brown's "Doing It to Death" (which begins with a short free-form intro) on the first disc and "Pass the Peas," which opens the second. They both bring the funk hot and heavy. Roiling and ratcheting the intensity, the rhythm section really shines on both tunes and Matrazzo's organ and piano solos on the former are his best here. Haynes' title track is a vehicle for the band to dig into its love for greasy yet progressive soul-jazz. Another Woody highlight (though the guitarists are mind-melting together and separately) is the Haynes-Dickey Betts tune "Kind of Bird," a knotty showcase for the inspiration of hard bop in the development of both men and Sco. The latter swings like mad, but Haynes is easily as fluid. Both swagger and strut, adding healthy doses of blues to the syncopated rhythms. The closer is a staggering 23-minute reading of Mongo Santamaria's "Afro Blue" that weaves elements of Betts' "In Memory of Elizabeth Reed" and searing psychedelia into its labyrinthine mix. (Mike Barnes guests as a third guitarist on the track.) Sco-Mule is high-flying musical collaboration at its very best. Inspired, in the cut, wildly creative, and sprawling, this is the evidence that these cats brought everything to the stage in these shows.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1 :
1 Hottentot 11:06
John Scofield
2 Tom Thumb 11:06
Wayne Shorter
3 Doing It To Death 12:08
James Brown
4 Birth of the Mule 15:34
Matt Abts / Warren Haynes / Allen Woody
5 Sco-Mule 9:16
Warren Haynes
6 Kind of Bird 18:13
Forrest Richard Betts / Warren Haynes
Tracklist 2 :
1 Pass the Peas 10:20
Charles Bobbit / James Brown / John Starks
2 Devil Likes It Slow 13:02
Warren Haynes
3 Hottentot [Alternate Version] 11:40
John Scofield
4 Kind of Bird [Alternate Version] 18:18
Forrest Richard Betts / Warren Haynes
5 Afro Blue 23:03
Mongo Santamaria
Credits :
Bass – Allen Woody
Drums – Matt Abts
Guitar [Additional] – Jimmy Herring (tracks: 2-2), Mike Barnes (tracks: 2-5)
Guitar, Liner Notes – John Scofield
Guitar, Liner Notes, Producer, Mixed By – Warren Haynes
Keyboards – Dr. Dan Matrazzo

GARY THOMAS & SEVENTH QUADRANT - By Any Means Necessary [1989] JMT / APE (image+.cue), lossless

The M-Base concept, which never caught on in a big way but did influence the playing of a dozen or so top jazz improvisers, is heard in its prime on this Gary Thomas release. The tenor saxophonist (doubling on flute) meets up with the fiery altoist Greg Osby, keyboardist Geri Allen, keyboardist Tim Murphy, bassist Anthony Cox, drummer Dennis Chambers, percussionist Nana Vasconcelos, and, on some selections, guitarists John Scofield and Mick Goodrick. The music features dense ensembles, simultaneous improvisations, eccentric funk rhythms, and rhythmic but very dissonant horn solos that have a logic of their own. One can think of this noisy date as being an updated extension of Ornette Coleman's Prime Time and is recommended to open-minded listeners who think that nothing new has been played in jazz since the mid-'70s. by Scott Yanow
Tracklist
1 By Any Means Necessary 7:44
Gary Thomas
Guitar – John Scofield
Percussion – Nana Vasconcelos
2 Continuum 6:52
Gary Thomas
Percussion – Nana Vasconcelos

3 You're Under Arrest 7:17

John Scofield
Guitar – John Scofield
4 Potential Hazard 6:23
Gary Thomas
Percussion – Nana Vasconcelos
Piano, Synthesizer – Geri Allen

5 To the Vanishing Point 4:37

Gary Thomas
Piano, Synthesizer – Geri Allen

6 Screen Gem 5:02

Gary Thomas
Guitar – Mick Goodrick
Percussion – Nana Vasconcelos

7 Janala 2:39

Geri Allen / Greg Osby / Gary Thomas / Naná Vasconcelos
Alto Saxophone, Synthesizer – Greg Osby
Percussion – Nana Vasconcelos
Piano, Synthesizer – Geri Allen
8 At Risk 7:12
Gary Thomas
Guitar – John Scofield, Mick Goodrick
Percussion – Nana Vasconcelos
 9 Out of Harm's Way 6:12
Gary Thomas
Alto Saxophone, Synthesizer – Greg Osby

 GARY THOMAS & SEVENTH QUADRANT - By Any Means Necessary 

[1989] JMT / APE (image+.cue), lossless 

O Púbis da Rosa

DEJOHNETTE, GRENADIER, MEDESKI, SCOFIELD - Hudson (2017) FLAC (tracks), lossless

Too often, musicians of this caliber who come together under the particular umbrella of a "project" find the end result muddied by any number of difficulties, from individual egos to production excesses. Thankfully, none of that is the case with Hudson, the collective recording by the all-star, multi-generational quartet of drummer Jack DeJohnette, bassist Larry Grenadier, keyboardist John Medeski, and guitarist John Scofield. The album title has a two-fold meaning: It signifies the geographical region in upstate New York where these players currently reside, and highlights the notion that the area has always offered a place of solace for artists -- especially musicians. The latter is reflected in the choice of covers here.

The mood throughout is loose and conversational. These guys play songs they love to discover what else is inside them. The collective's lengthy title-track opening jam emerges from a funky bass and drum vamp, and evolves into something akin to the early electric music by Miles Davis via Medeski's wonky organ and electric piano sounds and Scofield's deeply rhythmic playing style. The entire band works that vamp to the point where it becomes something wholly other. Grenadier's playing is remarkable not for what he plays, but for how his woody grooves are so deep they build a dancefloor for the others to move on. Scofield's "El Swing" is a lithe, slippery, post-bop number with a lovely melody steeped in blues. There are four covers in a row. First is a reggae-cum-soul-jazz take on Bob Dylan's "Lay Lady Lay," where Medeski does his best Jackie Mitoo, while Scofield layers the lyric line with a biting tenderness and the rhythm section cuts deep. Joni Mitchell's "Woodstock" builds on the wispy mystery in the original with a beautiful, bluesy, acoustic piano solo by Medeski, and Scofield's quotations from "Eleanor Rigby." Dylan's "A Hard Rain's Gonna Fall" becomes a vehicle for intimate and edgy exploration utilizing psychedelia, swing rhythms, Scofield's more angular rock abstractions -- which always return to the blues -- and Medeski's spacy chord voicings. Jimi Hendrix is represented by "Wait Until Tomorrow," in which the quartet uncover the R&B grooves underneath its rock exterior. Of the remaining originals, DeJohnette's "Song for World Forgiveness" is a highlight for its laid-back tempo and reflective but emphatic interaction between pianist and guitarist. Scofield's "Tony Then Jack" has an uptempo swagger with a knotty organ, a bouncy, walking bassline, and skittering snare work from DeJohnette, while the Band's "Up on Cripple Creek" reveals the NOLA funk at its core. Hudson is a modern update that harkens back -- in feel -- to the great Blue Note sessions of the '60s, when a group of jazz masters could come together to play good music and let off some steam. We need more records like this.  by Thom Jurek
Tracklist :
1     Hudson    10:57  
Jack DeJohnette / Larry Grenadier / John Medeski / John Scofield
2     El Swing    5:30  
John Scofield
3     Lay Lady Lay    8:16    
Bob Dylan
4     Woodstock    6:00    
Joni Mitchell
5     A Hard Rain's A-Gonna Fall    9:14
Bob Dylan

6     Wait Until Tomorrow    5:28   
Jimi Hendrix
7     Song for World Forgiveness    8:36    
Jack DeJohnette
8     Dirty Ground    3:58    
Jack DeJohnette / Bruce Hornsby
9     Tony Then Jack   5:04    
John Scofield
10     Up on Cripple Creek    5:36    
Robbie Robertson
11     Great Spirit Peace Chant    3:15
Jack DeJohnette
Credits :
Acoustic Bass, Vocals – Larry Grenadier
Drums, Tom Tom [Tom-tom], Flute [Wooden Flute], Vocals – Jack DeJohnette
Guitar, Flute [Wooden Flute] – John Scofield
Piano, Electric Piano [Rhodes], Organ [Hammond B-3 Organ], Flute [Wooden Flute], Vocals – John Medeski

THE JOHN SCOFIELD QUARTET - Meant to Be (1990) FLAC (image+.cue), lossless

Meant to Be features guitarist John Scofield's 1990 pianoless quartet on 11 of his compositions. During the best selections (such as "Big Fan" and "Mr. Coleman to You") one can hear the influence of not just the original Ornette Coleman Quartet but the Keith Jarrett/Dewey Redman Quintet. Joe Lovano's increasingly original tenor sound (mixing together John Coltrane, Dewey Redman, and even Eddie Harris on this set) works well with Scofield and the tight but loose rhythm section (bassist Marc Johnson and drummer Bill Stewart). "Eisenhower" (a slightly tongue-in-cheek, boppish romp) and "Some Nerve" (which uses New Orleans parade rhythms) are also memorable performances. The colorful and enjoyable set is modern mainstream music of the 1990s, stretching ahead while holding on to the roots of hard bop, funk, and fusion.  by Scott Yanow
Tracklist :
1 Big Fan 6:03
2 Keep Me In Mind 6:00
3 Go Blow 8:19
4 Chariots 6:02
5 The Guinness Spot 6:35
6 Mr. Coleman To You 6:02
7 Eisenhower 5:20
8 Meant To Be 7:07
9 Some Nerve 5:10
10 Lost In Space 6:30
11 French Flics 5:28
Credits :
Bass – Marc Johnson
Drums – Bill Stewart
Guitar, Composed By – John Scofield
Tenor Saxophone, Alto Clarinet – Joe Lovano

JOHN SCOFIELD - Bar Talk (1980) lp / FLAC (tracks+.cue), lossless

1980's Bar Talk features a young John Scofield already showing the virtuosity on guitar that subsequently made him a giant in his field. Scofield -- who honed his chops with artists like Miles Davis, Gerry Mulligan, Pat Metheny, Chick Corea, Chet Baker, and Charles Mingus -- displays his talents here as both a player and composer. Scofield is joined in the venture by Steve Swallow on bass and Adam Nussbaum on drums -- a perfectly balanced trio. The Connecticut-born Scofield, who studied jazz at the renowned Berklee School of Music in Boston, spent much of his professional life gigging in Europe. This recording was made by the trio during one of its European tours. The album was well received at the time of its printing in 1980. Its influence has grown, becoming a jazz guitar classic, often listed as a favorite recording by professional critics, other musicians, and fans alike. Most of the songs are penned by Scofield himself. Steve Swallow contributed one tune, the elegiac "Never." The songs are long enough to allow the music to develop, with each musician taking his turn in the jazz conversation. "Fat Woman," "New Strings Attached," and "How to Marry a Millionaire" give the listener a good sampling of the capabilities of these musicians as they morph through a range of moods and colors. The set ends with "Nature Calls," a nod to the double-entendre titles for which Scofield is known. The musician likes to joke around and have fun, but make no mistake, John Scofield is serious about his music.  by Rose of Sharon Witmer  
Tracklist ;
1     Beckon Call 7:01
Gary Campbell
2     New Strings Attached 6:09
John Scofield
3     Never 6:46
Steve Swallow
4     How to Marry a Millionaire 6:34
John Scofield
5     Fat Dancer 6:53
John Scofield
6     Nature Calls 5:40
John Scofield
Credits :
 Drums – Adam Nussbaum
Electric Bass – Steve Swallow
Electric Guitar, Producer – John Scofield

JOHN SCOFIELD - Electric Outlet (1984) FLAC (image+.cue), lossless

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. by Scott Yanow
Tracklist :
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
Credits :
Alto Saxophone – , David Sanborn
Drums – Steve Jordan
 Guitar, Drum Programming [Dmx], Bass, Composed By – John Scofield
Synthesizer – Peter Levin
Trombone – Ray Anderson

JOHN SCOFIELD - Blue Matter (1987) APE (image+.cue), lossless

 One of the top jazz guitarists from the mid-1980s on, John Scofield has always had a very recognizable sound and the ability to combine together R&B/funk with advanced jazz. He is the lead voice throughout most of this release, performing eight of his originals with a group also including keyboardist Mitchel Forman, electric bassist Gary Grainger, drummer Dennis Chambers, percussionist Don Alias and (on three of the numbers) Hiram Bullock on rhythm guitar. Although not for jazz purists, who should get his slightly later Blue Note releases instead, this set should interest guitar freaks.  by Scott Yanow
Tracklist
1 Blue Matter 5:47
2 Trim 7:33
3 Heaven Hill 4:28
4 So You Say 4:34
5 Now She's Blonde 5:32
6 Make Me 2:53
7 The Nag 4:18
8 Time Marches On 7:32
Credits
Bass – Gary Grainger
Drums – Dennis Chambers
Guitar – John Scofield
Keyboards – Mitchell Forman
Percussion – Don Alias
Rhythm Guitar – Hiram Bullock (tracks: 1, 5, 6)
Written-By – John Scofield

THE JOHN SCOFIELD BAND - Überjam (2002) FLAC (image+.cue), lossless

In the jazz world, there are artists who are consistent but predictable and artists who are unpredictable but inconsistent. John Scofield, meanwhile, is an impressive example of a jazzman who is both unpredictable and consistent. You never know what the risk-taking guitarist will do from one album to the next, but he rarely provides an album that is flat-out disappointing. Überjam is a major departure from 2000's Works for Me, the Verve date that preceded it. While Works for Me is essentially a straight-ahead post-bop outing and employs acoustic-oriented players, like pianist Brad Mehldau and bassist Christian McBride, Überjam is pure, unadulterated fusion. This album always has a jazz mentality -- Überjam is as spontaneous, free-spirited, and uninhibited as any bop session that was recorded in Rudy Van Gelder's studio in the '50s -- but on Überjam, having a jazz mentality doesn't mean excluding elements of funk, rock, and, at times, hip-hop and club music. To those who fancy themselves jazz purists, the phrase "pure, unadulterated fusion" will sound like an oxymoron; if jazz is fused, how can it be real, authentic jazz? But then, George Duke hit the nail on the head when he asserted that jazz was always fusion; even back in the days of Jelly Roll Morton and King Oliver, jazz had a variety of influences. It simply became more fused when Miles Davis recorded Bitches Brew and In a Silent Way in the late '60s. And speaking of Davis, much of Überjam reflects Scofield's years with that restless trumpeter. Like many of Davis' fusion efforts, Überjam has no problem being cerebral and funky at the same time. The material tends to be abstract and intellectual, but not at the expense of grit. Überjam is yet another excellent album from an improviser who refuses to be predictable.  by Alex Henderson
Tracklist :
1. Acidhead 6:33
Avi Bortnick / Jesse Yusef Murphy / John Scofield
2. Ideofunk 4:44
John Scofield
3. Jungle Fiction 5:39
John Scofield
4. I Brake 4 Monster Booty 4:03
Avi Bortnick / Jesse Yusef Murphy / John Scofield
5. Animal Farm 5:38
John Scofield
6. Offspring 6:28
John Scofield
7. Tomorrow Land 3:59
Avi Bortnick  
8. überjam 6:52
Avi Bortnick / Jesse Yusef Murphy / John Scofield
9. Polo Towers 5:29
John Scofield
10. Snap Crackle Pop 6:03
John Scofield
11. Lucky For Her 3:13
Avi Bortnick / Jesse Yusef Murphy / John Scofield
Credits :
Bass – Jesse Murphy
Drums – Adam Deitch
Electric Guitar – John Scofield
Keyboards – John Medeski
Rhythm Guitar, Sampler – Avi Bortnick
Saxophone, Flute – Karl Denson