01 - I Can See Your House From Here      play
02 - The Red One 
03 - No Matter What 
04 - Everybody's Party 
05 - Message to My Friend 
06 - No Way Jose 
07 - Say The Brother's Name 
08 - S.C.O                        play
09 - Quiet Rising 
10 - One Way To Be 
11 - You Speak My Language

Line-Up:
John Scofield (electric & steel-string acoustic guitars);
Pat Metheny (electric & nylon-string acoustic guitars, guitar synthesizer);
Steve Swallow (acoustic & electric basses);
Bill Stewart (drums).

Superstar jazz recording sessions generally proceed with an abundance of ego and good intentions--yet rarely if ever is the sum equal to its parts. There's simply no substitute for empathy and forethought.

Or the mutual respect these master stylists display on I CAN SEE YOUR HOUSE FROM HERE. Scofield and Metheny represent two distinct takes on modern jazz and the electric guitar. Both come directly out of Jim Hall, the poet laureate of jazz guitar. Metheny's romantic "Say The Brother's Name" and "Quiet Rising," and Scofield's after hours blues "You Speak My Language" provide ardent settings for both guitarists to pay homage to their primary influence with suede, legato phrasings and supple harmonies.

But where Metheny's muse (and his immensely popular band) often tends toward rich layered harmonies and percolating Brazilian rhythms, Scofield is a hard blues, hard bop player, with more than a little touch of funk in his tone. Where Metheny flows, Scofield sort of barks and bites into his lines, as reflected by such ardent, jagged themes as "One Way To Be" and "No Way Jose."

Yet for all the stylistic differences, the sum of their collaboration is such that casual listeners might find it difficult to tell who's who. Scofield and Metheny touch on all sorts of dancing instrumental moods, leavened by modern jazz, flavored by rock, blues and Latin America, driven in style by bass guitarist Steve Swallow and drummer Bill Stewart. Beautifully recorded, I CAN SEE YOUR HOUSE FROM HERE is an authentic musical communion.

Recorded at The Power Station, New York, New York in December 1993. ---cduniverse.com

Guitar giants John Scofield and Pat Metheny teamed up for the first time on records for this CD. The collaboration does take awhile to get going and it is not until the fourth cut, the bluish "Everybody's Party," that the sparks begin to fly; fortunately the momentum does not let up much throughout the remainder of the CD. All of the selections (including two blues) are originals by either of the guitarists and, with the accompaniment of bassist Steve Swallow and drummer Bill Stewart, this varied set generally lives up to expectations.

Znakomitość do kwadratu, a nawet do czwartej potęgi!! Dwaj gitarzyści, tak przez krytykę, jak i fanów słusznie uważani za najwybitniejszych instrumentalistów w kategorii "gitara jazzowa" plus sekcja marzeń: Bill Stewart, perkusista niezwykle uzdolniony, czujny, kreatywny i niesamowicie muzykalny i legenda elektrycznego basu, Steve Swallow, jedyny, który na "basówce" potrafi grać tak cudownie "akustycznym" brzmieniem... do tego świetne kompozycje i... po prostu tego nie sposób opisać, trzeba się wsłuchać! Kapitalne solo (to oczywiste!), idealne porozumienie, pełne spektrum emocji: od ostrego jazz-rocka po delikatne ballady. Po prostu kosmos, pięć gwiazdek to za mało! --- Wojtek i Monika. merlin.pl

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01. You speak my language (Scofield)
02. The red one (Metheny)		play
03. No matter what (Scofield)
04. No way José (Scofield)
05. Message to my friends (Metheny)
06. Everybody's party (Scofield)

Line-Up:
John Scofield (Guitar); 
Pat Metheny (Guitar); 
Steve Swallow (Bass); 
Bill Stewart (Drums).

In the intervening years, the North Sea Jazz Festival has developed into a major international jazz event. Over the years the numbers have increased to: fifteen venues, approximately thirteen hundred artists and a visitors number that varies between sixty-five thousand and seventy thousand every year. North Sea Jazz is known all over the world because of the many musical genres it has to offer, ranging from traditional New Orleans jazz, swing, bop, free jazz, fusion, avant-garde jazz and electronic jazz; to blues, gospel, funk, soul, R&B, hip hop, world beat and Latin. This is what makes North Sea Jazz so unique – a festival where for three days the past, the present and the future of jazz music are presented, all under one roof. Want to know more about the history of the North Sea Jazz festival? Here you will find the program information of the past 32 years the festival has been held! Go back in time and see exactly which artists performed from 1976 till 2008. From 2002 till 2009 you won't only find the artist, the time of the performance and the location, but also the line up and the biography.

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01. Lazy 		play
02. Peculiar 
03. Let the Cat Out 
04. Kool 		play
05. Old Soul 
06. Groove Elation 
07. Carlos 
08. Soft Shoe 
09. Let it Shine 
10. Biotop

Personnel:
John Scofield (acoustic & electric guitars); 
Billy Drewes (tenor saxophone, flute); 
Howard Johnson (baritone saxophone, tuba, bass clarinet); 
Randy Brecker (trumpet, flugelhorn); 
Steve Turre (trombone); 
Larry Goldings (piano, organ); 
Dennis Irwin (bass); 
Idris Muhammad (drums); 
Don Alias (percussion).

John Scofield has continued to grow and evolve year-by-year. This 1995 set is quite blues-oriented, sometimes boppish and fairly laidback, almost sounding like a Jimmy Smith or Groove Holmes date from the 1960s. Larry Goldings (who doubles occasionally on piano) is almost as significant in the ensembles as the leader/guitarist and has become the most important arrival on organ since Joey DeFrancesco and Barbara Dennerlein. Many of the tunes (all Scofield originals) use parade-like rhythms propelled by Idris Muhammad and Dennis Irwin (particularly the eccentric "Peculiar" and "Groove Elation") and the interplay between the two lead voices is quite appealing. Scofield is quite unselfish as far as taking solo space goes (he clearly enjoys the light funky grooves set by Goldings) and the results are quite appealing. ~ Scott Yanow

Scofield's has put together a fantastic group of musicians and tunes for this rhythmic workout. This album simply does not have a low point or weak track. Most tracks feature a nice, accessible funky groove, hence the title. Sco does slow it down for a few tunes to feature his acoustic guitar, with pleasing results. The horns and organ contribute heavily on several tunes, although there is still room for Sco to stretch out with some great solos on most tracks.

The lone complaint I would have is that the bass is not quite loud enough in the mix. On a funky set like this, I would have liked to hear the bass a bit more prominently. This album should rank as one of Sco's finest, a fine complement to "a go go" and "bump" which are also highly recommended. For the keen ear, listen carefully for motifs and beats (tracks 4 and 10) that Sco explores again later on his next two funk albums.

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1. Slinky
2. Chap Dance
3. Hangover
4. Museum
5. Season Creep
6. Get Proud
7. Enjoy The Future!
8. Mr. Puffy
9. Past Present

John Scofield (guitar)
Joe Lovano (tenor saxophone)
Ben Street (bass)
Bill Stewart (drums)

During the '90s, ever-changing guitarist John Scofield paired with saxophonist and fellow Berklee alum Joe Lovano, drummer Bill Stewart, and bassists Charlie Haden, Marc Johnson, and Dennis Irwin, respectively, for three highly praised albums, Time on My Hands (1990), Meant to Be (1990), and What We Do (1992). Those albums found the oft-electrified Scofield, who played with Miles Davis in the '80s, investigating songs of a more acoustic, often straight-ahead, pre-fusion jazz style. After an over 20-year break, Scofield reunited with Lovano and Stewart for 2015's Past Present. Also joining the group this time is longtime Scofield associate bassist Larry Grenadier, who replaces the late Irwin. As with the quartet's previous work, Past Present is a largely acoustic jazz album, with Scofield playing on an amped, semi-hollow-body guitar. Scofield also supplies all of the compositions on Past Present, some of which, poignantly, were inspired by his son Evan Scofield, who died from cancer at age 26 in 2013. While the music on Past Present harks back to jazz's pre-rock-influenced golden age, there's nothing retro, staid, or unadventurous about the group's performance.

This is propulsive, often angular and kinetic music that touches upon low-down blues ("Slinky"), Horace Silver-esque soul-jazz ("Get Proud"), and airy, swinging post-bop ("Museum"). In that sense, it brings to mind the '70s work of Scofield contemporary Pat Martino. Barring 2003's Oh! by the supergroup ScoLoHoFo, Past Present is one of the few times Lovano has recorded with Scofield in recent years and it's invigorating to hear them together; Lovano's warm saxophone dances against the crunchy decay of Scofield's guitar. It's that burlap-on-velvet combination that gives cuts like the languid "Hangover" and the moody "Season Creep" an organic, tactile quality. There's also a gleeful, almost comedic nature to the quartet's interplay, as if the musicians are sharing an inside joke. "Chap Dance," a bright, Western-swing-meets-soul-bop cut, is clearly a somewhat cheeky nod to saxophonist Sonny Rollins' take on "I'm an Old Cowhand." However, the comedic quality sometimes takes on a nuanced, melancholic tone, as on "Mr. Puffy." A reference to Evan Scofield's appearance while undergoing chemotherapy, the song starts out sounding sad, then quickly transitions into a tougher, overtly funky midsection anchored by a guttural, low-end riff from Lovano. Ultimately, the track, as with all of Past Present, is rife with love and in-the-moment energy inspired by Scofield's past experience, but created with a hopeful eye to the future. ---Matt Collar, Rovi

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01. After the Fact 
02. Tulle 			play
03. Away with Words 
04. Hold That Thought 
05. Door #3 
06. Bedside Manner 
07. Rolf and the Gang 
08. But for Love 
09. Awal			play

Personnel:
John Scofield (nylon-string acoustic guitar); 
Wayne Shorter (tenor saxophone); 
Randy Brecker (trumpet, flugelhorn); 
John Clark, Fred Griffen (French horn); 
Howard Johnson (tuba, baritone saxophone); 
Charles Pillow (alto flute, English horn, tenor saxophone); 
Lawrence Feldman (alto flute, flute, tenor saxophone); 
Roger Rosenberg (bass clarinet); 
Steve Swallow (bass); 
Bill Stewart, Duduka Da Fonseca (drums).

John Scofield didn't even own an acoustic guitar when Pat Metheny brought along a pair of them for the guitarists' 1993 duo session, "I Can See Your House From Here." Scofield was so intrigued by the experience that he went out and bought his own nylon-string instrument, spent hours playing it and ultimately composed eight pieces especially for his new plaything. Those eight tunes (plus a ninth by producer Steve Swallow) comprise Scofield's new album, aptly entitled "Quiet." Scofield was too smart to simply transplant his electric-guitar techniques--which rely so heavily on distortion and attack--to the acoustic instrument. Instead, he took advantage of the nylon strings' intimacy and responsiveness to compose romantic melodies and play them in a clean, understated style. --Geoffrey Himes

Though guitarist John Scofield eventually became best known as a purveyor of funky, jam-happy fusion, QUIET is a wonderful anomaly in his catalog. Leaving funk grooves (and even electric guitar) far behind, Scofield wields an acoustic axe here on a batch of tunes that are subtle, complex, and involving. One of the most evocative aspects of these tracks is the ghostly presence of the woodwinds and horns, which Scofield himself arranged with an able blend of warmth, ethereal atmosphere, and intriguingly knotty angularity. Having jazz titan Wayne Shorter helping out on sax doesn't hurt these tunes either, and QUIET stands out as an atypical but arresting corner of Scofield's extensive catalog.

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01. Philiopiety (Bortnick, Deitch, Hess, Lateef, Scofield) 6:18
02. Cuidado con los Po-Po (Bortnick, Deitch, Murphy, Scofield) 6:05
03. Creeper (Scofield) 7:28
04. Whatcha See Is Whatcha Get (Hester) 5:53
05. I'm Listening (Bortnick, Deitch, Murphy, Scofield) 2:57
06. Thikhathali (Bortnick, Deitch, Murphy, Scofield) 6:57
07. Four on the Floor (Scofield) 6:04
08. Al igual que la Luna (Scofield) 6:38
09. Disco Freakin '(Bortnick, Deitch, Hess, Scofield) 8:20
10. Nacido en Troubled Times (Scofield) 5:05
11. Cada noche es Ladies Night (Deitch, Scofield) 5:16

Personnel: 
John Scofield - electric guitar, guitar samples
Avi Bortnick - rhythm guitar, samples, loops
Andy Hess - bass
Adam Deitch - drums
Craig Handy - tenor sax, flute, bass clarinet
Earl Gardner - trumpet
Gary Smulyan - baritone sax
Jim Pugh - trombone
Samson Olawale - percussion sample (6)

The Freaky Deaky is back! This is the most inspired playing I have heard from John Scofield in many years. On Up All Night, Scofield has found the elusive spot (as a player) between knowing what he's doing and what he doesn't know. The band caught at the time of this recording exists at that junction—a place beautifully balanced between solid compositional form and sheer improvisational grace. Scofield hasn't been this hungry in a long, long time!

If you liked Scofield's last album, Uberjam, be prepared for a quantum leap in both conception and playing on Up All Night. And if you didn't like Uberjam, then you might be surprised here by the extent of Scofield's talent. This music harkens back to the leader's lean and mean days with Miles Davis, although it doesn't have the same sound. What it does share with Miles' work from that era is rawness, sheer guitar power from an expert player, and genre-busting grooves that have one foot in the jazz camp and the other in deep-fried Philly Soul.

The band is comprised of a solid electric bass and drums rhythm section, then complemented with massive samples and rhythm guitar work from Avi Bortnick, and topped off with Scofield using creative guitar samples, live backwards guitar, and an extended tonal palette. Six tunes employ a badass horn section that really fills the sound out. The horn arrangements were written by Scofield, who brings an almost "Gamble and Huff" sensibility to the music.

The new technology and "jam band" sensibility works wonders for Scofield's playing style. While his playing has been rather contrived in the past, it is anything but on this recording.

Scofield's style has always owed a lot to his ability to create fluid chromatic melodic lines. That was what made him and Mike Stern a formidable duo in Miles' band. Stern's raw power and direct blues-rock feel pushed Scofield to a new, more supple guitar style, and I hear a similar rawness and thrust behind the band here. These young guys push Scofield into much- needed new directions, and he rises to the challenge. He throws his fluid legato style smack dab into the middle of some warped-out funked-out backwards shit, still coming out on top. It's a joy to hear someone who can play the guitar so well actually play the music so well. Check his guitar work on "Like The Moon." His playing on the disco-tinged and aptly-named "Freakin' Disco" is absolutely on fire...damn!

This modern gem from a modern guitar icon is well worth your listening consideration. ---Farrell Lowe, allaboutjazz.com

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1 	I'll Catch You 	7:58
2 	Not You Again 	7:09
3 	Big J 	7:30
4 	Loose Canon 	9:12
5 	Love You Long Time 	6:21
6 	Hive 	4:51
7 	Heel To Toe 	5:21
8 	Do I Crazy? 	6:07
9 	Mrs. Scofield's Waltz 	6:32
10 	Six And Eight 	8:18
11 	Freepie 	2:15

Bass – Christian McBride
Drums – Billy Higgins
Guitar – John Scofield
Piano – Brad Mehldau
Saxophone [Alto] – Kenny Garrett

Guitarist John Scofield takes the traditional jazz route on Works for Me, an excellent collection of 11 compositions that feature the all-star lineup of Christian McBride on acoustic bass, Kenny Garrett on alto saxophone, Brad Mehldau on acoustic piano, and the dynamic Billy Higgins on drums. This CD is unlike the alternative rock and funk jazz fusion on his previous efforts A Go Go and Bump. On this offering, John Scofield gives a great reassessment of straight-ahead post-bop jazz that is distinguished and stimulating. On "Big J," Scofield and saxophonist Kenny Garrett make a great team as they reach out with a call and response improvisation that engrosses the listener throughout its development. On "Loose Cannon," Garret means business as he launches into some great straight-ahead hard blowing. The ensemble changes the mood on "Love You a Long Time" with a soft approach to this resonant, melodic ballad. Drummer Billy Higgins is impossible to miss on "Freepie" and Christian McBride performs his stellar top to bottom command of acoustic bass techniques throughout this great program. Christian McBride plays a great solo on "Heel to Toe." From the hard swinging "Do I Crazy?" to the tranquil "Mrs. Scofield's Waltz," the versatility of John Scofield shows why he is one of the "Big 3" of current jazz guitarists.---Paula Edelstein, AllMusic Review

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Tracks:  
1. A Go Go 
2. Chank 
3. Boozer 
4. Southern Pacific 
5. Jeep On 35 
6. Kubrick 
7. Green Tea 
8. Hottentot 
9. Chicken Dog 
10. Deadzy

    John Scofield – electric & acoustic guitars, whistle
    John Medeski – organ, Wurlitzer, clavinet, piano
    Chris Wood – acoustic & electric basses
    Billy Martin – drums, tambourine

Speaking of funk, here's a match made in heaven: Medeski, Martin and Wood, one of the hottest young electric-jazz combos on the planet (both in popularity and skill), teamed with John Scofield, one of the baddest jazz guitarists ever. As you might expect, A Go Go is vamp-laden and very smart.

Medeski, Martin and Wood are cool with the kids, so this one should make Sco a pile of dough. I caught MWW last year at a jazz fest,where they drew throngs of energetic college people — mainly guys — who were all doing what I call the "spastic white-boy dance." If you've been to a rock concert lately, you may have witnessed the spastic white-boy dance up close. It goes something like this: stand on your seat, block everybody else's view, and flail your arms around like a chicken on acid. In fairness, I must say that MMW managed to put this old fart in a bit of a dancin' mood, too — no easy accomplishment, that.

A Go Go shows Scofield can be a team player. The twisted bluesy solos are here, but they're more concise than usual — Sco knows that long solos seldom improve the groove, and MMW does nothing but groove. Scofield plucks some chunky rhythmic chords and tasteful phrases here and there, while Medeski, Martin and Wood charge along like a funked-up machine. Martin is one of very few drummers who effectively emulate hip-hop rhythms on acoustic drums, and Medeski perculates on Wurlitzer, clavinet and piano with the same kind of restraint as Scofield. All four players complement each other extremely well, and they're clearly on a mission from the Godfather — of soul, that is.

A Go Go is enchanting, whirling, trance- inducing. The spastic white boys will love it, and so do I. ---Ed Kopp, allaboutjazz.com

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01 – Blue Matter
02 – Trim
03 – Heaven Hill
04 – So You Say
05 – Now She’s Blonde
06 – Make Me				play
07 – The Nag
08 – Time Marches On

Personnel : 
John Scofield – Guitar
Gary Grainger – Bass
Dennis Chambers – Drums
Mitchell Forman – Keyboards
Hiram Bullock – Rhythm Guitar
Don Alias – Percussion

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. ---Scott Yanow, allmusic.com

BLUE MATTER is finger-poppin' good. Sco's brand of jazz/blues rock is red-hot and scorching on this superb set, aided by journeyman Dennis Chambers on the traps, keyboardist Mitchell Forman, Weather Report alumnus Don Alias (providing percussives), and engaging bassist Gary Grainger. In fact, Grainger's funk-pop licks are what anchor the superb title track to earth, providing the right base for Scofield's conversant guitar fronds and Forman's dreamy keys.

On "Trim", Scofield bounces some Wes Montgomery spikes all over a rousing funkscape. The disc also offers the brash urban kickstep of "So You Say" and the introspective frissons surrounding "Time Marches On." Like fellow guitar master Pat Metheny, Scofield understands subtlety and finesse. He knows when to amplify and when to relax. With BLUE MATTER, he demonstrates that his ability to swing finds its ideal middle ground between both poles. ---cduniverse.com

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1. 	Three Sisters  	
2. 	Chichon 	 
3. 	Beep Beep 	 
4. 	Kelpers 	
5. 	Groan Man 	 
6. 	Fez 	
7. 	Blackout 
8. 	Kilgeffen
9. 	We Are Not Alone
10. Swinganova
11. Drop and Roll
12. Kilgeffen (Reprise)

    John Scofield - electric guitar, acoustic guitar
    David Livolsi, Tony Scherr & Chris Wood - electric bass guitar
    Eric Kalb & Kenny Wollesen - drums
    Johnny Durkin - congas
    Johnny Almendra - percussion
    Mark Degli Antoni[3] - keyboards

John Scofield continued to use his Verve Records contract for unusual outings -- like this one, his third release for the label, following the acoustic disc Quiet and A Go Go (which featured Medeski, Martin, and Wood). On Bump, he retained bassist Chris Wood and added Tony Scherr and Kenny Wollesen (the rhythm section from Sex Mob), keyboardist Mark De Gli Antoni from Soul Coughing, and drummer Eric Kalb and conga player Johnny Durkin from Deep Banana Blackout. Such sidemen allowed him to delve even more deeply into the second-line funk he had explored earlier in his career; indeed, "Three Sisters," the leadoff track, sounded like something Allen Toussaint might have produced for the Meters in the early '70s. The focus was always on the guitarist, and Scofield could remind you of Carlos Santana (on "Swinganova") or evoke Jeff Beck (on "Fez"). For the most part, however, he sounded like himself back in his days with Miles Davis, though by now, his playing was less busy and more fluid. ---William Ruhlmann, Rovi

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