One of Pat Metheny's Best
I particularly like "The Red One", track no 2, as well as "No Way Jose", but I pretty much like the cd through and through. Over the years, Pat Metheny has released dozens of albums; I find that this one stands out, namely because the numbers on it are much more memorable.
You may wonder . . .
. . why this CD has gotten mixed reviews, and is available to buy quite cheaply (used). To put it briefly: it's not that it isn't a very good CD; it is. But it's a CD that requires patience of the listener. While you'll like some of the cuts the first time you hear them, a lot of them take a while to sink into your synapses. So, basically, it's just not as immediately accessible as much of the work by both of these artists. But given that you can get this CD for just a few dollars (if you don't mind used), it's totally worth it. No fan of either guitarist should be without this album, IMHO. (Oh, also a correction to an earlier review; someone referred to Steve Swallow's "acoustic bass guitar". It is not acoustic but the electric that he always plays. ).
I like it a lot
I am aware they are accomplished musicians. I am not a fan of either artist (Scofield, Metheny) or particularly fond of modern jazz. I always liked Metheny's "This Is Not America" with David Bowie. Several years back, I read about the audiophile qualities of this CD from an audio equipment review. I considered buying it but then was discouraged thinking it would be too abstract to hold my interest. Some of the reviews on this site were not that encouraging either. Anyway I finally bought it. All the audiophile qualities mentioned in the equipment review were spot on. This is not some ordinary modern jazz recording. Aside from the sonic qualities, I thought the performance level, the improvisations were really top notch. Each track has a unique theme and structure skillfully performed. The percussion work is really world class and I felt it really drives the whole show. If you have a system that is revealing, you are in for a treat particularly with the percussion work. The recording has stage depth, highly transparent sound. Instruments are well separated. It sounds like several microphones were used to capture the percussions. The listener can follow each instrument and it's nuances with no effort.
I wish there was little more emphasis on electric base - one of the tracks towards the end gives the listener some taste of base notes which is also tastefully done. I did not hear a single track that was a sleeper. This one is a keeper. Highly recommended. .
A brave idea but Sco comes off second-best
At the time of its release, Scofield stated that the title of this recording was meant to reflect the regard he and Pat Metheny held for one another's (different styles) of playing. After the success of Grace Under Pressure, it is not surprising that John Scofield again decided to accept the challenge of recording with another top-flight guitarist. The challenge of the project was to establish whether their styles were compatible, creating interesting contrasts and stimulating improvisation. The end result is a not entirely successful outing for the leader. He and Metheny largely share the writing credits (bassist Steve Swallow contributes two titles) and the compositions are generally attractive and give the soloists enough ideas to work with. However, the rhythm section of Swallow and drummer Bill Stewart does not quite ignite Scofield the way that Charlie Haden and Joey Barron/Bill Stewart previously did. Swallow is a fine player but his acoustic bass guitar does not project in the manner of Charlie Haden's or Marc Johnson's acoustic basses. Further, Haden's ability to push his collaborators into exploratory territory is extremely rare and justifiably celebrated. And whereas Scofield flourished in partnership with Bill Frisell on Grace, he is, frankly, blown out of the water by Metheny. There is no shame in this, for Metheny is perhaps the greatest melodic improviser since Sonny Rollins and his solos on `The Red One' and `'One Way to Be' are simply magnificent; they alone justify purchasing the album. Scofield's solos, by contrast, seem a little flat and stifled; it is as if he cannot quite find a way to reach a plane of heightened freedom and expression. Nevertheless, Scofield deserves great credit for having the courage to pit his skills against a player whose gifts arguably exceed his own. Too few in the jazz world of today are prepared to take such risks.
Everything it should have been
John Scofield and Pat Metheny have such distinct approaches to jazz guitar, who could have foreseen what such a project would end up like? They may well have staked out their own territory at left and right speakers and just dueled off one another, but this stuff works incredibly well as a *collaboration*, a perfectly enmeshed meeting of two great minds of music (how's that for alliteration?)
John and Pat take about an equal share of songwriting. Some collaborations between jazz giants seem to have been disappointing for whatever reason. Some of John's best tunes are here showcased, such as the knowing, easy swing of the title cut, the lovely ballad "No Matter What" (he can sure do those too!) and the catchy, accessible "Everybody's Party". The two of them play in unison so well, it sounds like a single guitar run through a chorus effect or something, but then one of them will snag some witty harmonic aside in there somewhere and remind you that in fact two different guitars are playing. Beautiful. Pat's placid acoustic numbers like "Message to My Friend" and "Quiet Rising" blend in the mix pretty well, and it's nice to hear Sco fitting into that context too (in fact, Amazon. com says that this recording date made Scofield finally actually buy an acoustic guitar, and the acoustic album _Quiet_ resulted a couple years later). Which is not to say that's the only thing Pat brings to the table. He rips it up in the energetic "The Red One", wherein he takes a solo with his distinctive "synth-guitar". The rhythm section of Stewart/Swallow is impeccable. I love those little Chinese cymbals Bill Stewart uses to punctuate certain songs. Bassist Steve Swallow (always choosing just the right note instead of walking his fingers off trying to find it) and Scofield have such a history, they play perfect together. Terrific album, sterling quality all around, highly recommended.
You can see a complete list of all John Scofield discography, or go back to the John Scofield tabs
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