Guitarist John Scofield celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made in an afternoon in New York City in March 2019 - "old school" style as Scofield says, acknowledging that more than forty years of preparation led up to it. John was a 20-year-old student at Berklee when he first met and played with bassist Swallow, and they have continued ever since, in many different contexts.
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"I love these songs", says Scofield of the selection of Swallow compositions explored here – a broad range including tunes that have become standards, as well as some lesser-known works. The rapport between Scofield and Swallow is evident in every moment. John: "Sometimes when we play it's like one big guitar, the bass part and my part together."
Behind the drum kit, Bill Stewart is alert to all the implications of the interaction. "What Bill does is more than ‘playing the drums,'" Scofield says. "He's a melodic voice in the music, playing counterpoint, and comping, while also swinging really hard." The guitarist himself plays with fire and invention throughout: "These two giants bring out the best in me."
Swallow's compositions, John notes, "make perfect vehicles for improvisation. The changes are always interesting – but not too interesting! They're grounded in reality with cadences that make sense. They're never just intellectual exercises, and they're so melodic. They're all songs, rather than ‘pieces'. They could all be sung."
Swallow Tales opens with "She Was Young", a tune introduced on Steve Swallow's ECM album Home, in 1979, where it was indeed sung, by Sheila Jordan. A number of the tunes addressed here – including "Falling Grace", "Portsmouth Figurations", and "Eiderdown" – belonged to the 1960s repertoire of Gary Burton's groups. Scofield, who had admired them from the outset, studied them with Burton and the composer in the early 1970s, by which point Swallow had made the transition from double bass to bass guitar, creating a new voice for himself on the electric instrument. When Scofield launched his own recording career, Swallow was in his trio (with Adam Nussbaum on drums). Touring widely the guitarist and the bassist fine-tuned their musical understanding, a process continued in many other configurations over the years. Scofield appeared on Steve's XtraWatt album Swallow in 1991, for instance, and Swallow is on numerous Scofield recordings - including the recent Country For Old Men, which also featured Bill Stewart. A close associate since the early 1990s, drummer Stewart had played in John's quartet with Joe Lovano, and gone on to join the guitarist in many journeys over varied musical terrain.
John Scofield has recorded for jazz labels including Impulse, Blue Note, Verve, Emarcy and Gramavision. ECM appearances to date have been infrequent but distinguished; they include two albums with Marc Johnson's Bass Desires group – Bass Desires (recorded 1985) and Second Sight (1987) - in which the guitarist shared frontline duties with Bill Frisell. On Shades of Jade (2004), a third Marc Johnson album, Scofield is heard alongside frequent colleague Joe Lovano. The live double album Saudades (recorded in 2004), meanwhile, features Scofield as a member of Trio Beyond, alongside Jack DeJohnette and Larry Goldings, reassessing the songbook of Tony Williams' Lifetime. Swallow Tales is the first of his ECM recordings to feature the guitarist as bandleader.
Produced by Max Horowitz - Crossover Media, This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
Sharon Isbin has been a tireless commissioner of new work and her latest album Affinity is no exception with several recent compositions set alongside some old friends. It's Chris Brubeck's 18-minute Guitar Concerto-the longest and most colorful work here-that gives the album its title and opens proceedings. The concerto's name alludes to a shared "affinity" between composer and soloist, two musicians who thrive on exploring different styles. Like his father jazz legend Dave Brubeck, Chris Brubeck has his roots in jazz, but despite its plentiful toe-tapping syncopation, Affinity is most definitely a classical work. At its atmospheric heart the composer manages to incorporate one of his father's loveliest tunes-"Autumn in Our Town"-before a lilting Renaissance dance section ups the tempo to end with something akin to a wriggling Brazilian samba. Highly energetic, melodically infectious, and colorfully scored, Affinity is a real crowd pleaser, and with her immaculate and fleet-footed technique Isbin does it proud. The Maryland Symphony Orchestra under Music Director Elizabeth Schulze has just the right feel for this music and the excellent engineering ensures both textural clarity and a perfect balance.
It's 40 years since Leo Brouwer wrote his solo guitar work El Decameron Negro for Isbin, and although she's recorded it previously, her interpretation has only deepened with time. The three evocative instrumental "ballads" are inspired by African love stories infused with the musical sensibilities of Brouwer's native Cuba. Isbin is a natural storyteller and is in her element here, putting on a virtuoso display full of light, shade, and manual dexterity. Ditto Tan Dun's Seven Desires, an intriguing solo work that straddles-and fuses-the seemingly disparate worlds of the Chinese pipa and Spanish flamenco guitar. Antonio Lauro's charming Waltz No. 3 is here arranged for two guitars by former Isbin student and now regular duet partner Colin Davin. The disc concludes with Richard Danielpour's Of Love and Longing, three contrasting settings for voice and guitar of the Persian poet Rumi. Performed here with great warmth and sensitivity by Isabel Leonard, it crowns an album that should please fans of Isbin and of contemporary guitar music in general.
One would find it hard to beat the all-star line-up featured in The Cave of Wondrous Voice, a new, hour-long survey of vocal and chamber music by the California-based composer Mark Abel. David Shifrin, Carol Rosenberger, Hila Plitmann, and Fred Sherry headline the album but they're not its only stars. On the whole, The Cave of Wonderous Voice is smartly played and engineered. Abel's writing throughout is fluent and often genial. While certain spots in the Trio, particularly, might benefit from grittier moments to offset the diatonic ones, this is music of considerable expressive directness as well as charm.
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Composer, pianist, and conductor Michael Shapiro joins us to talk about the music on his latest disc, including his John Milton-inspired piano concerto entitled Archangel. In this action-packed work, Shapiro lays out the epic Biblical battle between good and evil as a metaphor for the challenges we all face in our daily lives (which includes the current coronavirus pandemic – something Michael recently fell victim to himself). Also on the disc: orchestral excerpts from an opera based on Federico Garcia Lorca, and a full-throttle realization for orchestra of the famous organ Toccata by French composer Charles-Marie Widor.
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There are a few guitarists who are almost instantly recognizable by their tone: Richard Thompson, Bill Frisell, Pat Metheny - and John Scofield. It's not that his sound is idiosyncratic, it's just that it's personal. There's some chorus in there, and just a touch of distortion to rough up the very edges. But it's also the notes he plays, and the way that the blues are never far from him no matter how complex the chord changes get. On his latest solo album he's joined by drummer Bill Stewart and bassist Steve Swallow. As the title suggests, the album is actually a tribute to Swallow, and consists entirely of the bassist's compositions. Scofield has said that when the two of them play together "sometimes… it's like one big guitar," and you can definitely hear that; you can also hear why Scofield likes Swallow's tunes so much ("they're grounded in reality, with cadences that make sense"). As discursive as the trio sometimes gets - this is an ECM jazz recording, after all - they never lose the thread of brilliant continuity that binds these wonderful tunes together. For all jazz collections.
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John Scofield's guitar work has influenced jazz since the late 70's and is going strong today. Possessor of a very distinctive sound and stylistic diversity, Scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, funk edged jazz, and R & B.
Scofield's new ECM album celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made during an afternoon in New York City, March 2019 - "old school" style as Scofield says, acknowledging that more than forty years of preparation led up to it. John was a 20-year-old student at Berklee when he first met and played with bassist Swallow, and they have continued ever since, in many different contexts.
Host, Rich Brown had a chance to speak w/ John Scofield for jazzcast.ca. On this special edition of New Origins, hear their conversation, as well as a wide selection of Sco's music spanning the last 4 decades.
Voice of Hope is Camille Thomas's second album for Deutsche Grammophon. The Franco-Belgian cellist's program pays tribute to people's ability to triumph over adversity, create harmony in place of chaos, and overcome hatred with love. The album presents the world-premiere recording of Fazil Say's concerto Never Give Up, a response to terrorist attacks in Paris and Istanbul written for and premiered by Thomas, and also includes an exquisite selection of songs, prayers, and laments, Bruch's Kol Nidrei and Ravel's Kaddisch among them.
For June 30, Camille Thomas - Voice of Hope is the WFMT: Chicago 'Featured New Release'
Sony Music Masterworks today releases Not Our First Goat Rodeo, the long-awaited follow-up album to the GRAMMY Award-winning The Goat Rodeo Sessions, with Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile.
In the fall of 1968, a sixteen-year old high school student named Danny Scher had a dream to invite legendary jazz pianist and composer Thelonious Monk and his all-star quartet to perform a concert at his local high school in Palo Alto, CA.
Blues Hall of Famer Bettye LaVette has decided to release her stirring rendition of "Strange Fruit" ahead of schedule as it says as much about the history of American racism and the state of the country today.
Guitarist John Scofield celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made in an afternoon in New York City in March 2019 - "old school" style as Scofield says, acknowledging that more than forty years of preparation led up to it.
From performing in sold-out arenas across the globe as one-half of renowned duo 2CELLOS to striking out on his own and making his Sony Classical solo debut, HAUSER continues the momentum of 2019 into the New Year, today announcing the February 7 release of his new album CLASSIC. Available for preorder now, Classic includes some of the most beloved classical melodies ever written, each a personal, longtime favorite of HAUSER he's carefully curated and rearranged for the cello. Making its debut today is one of these iconic melodies, Puccini's incredibly emotional aria "Nessun Dorma," which has been taken to new heights by HAUSER's cello
"It's simple," says HAUSER when asked to describe Classic. "It's the most beautiful, the most romantic melodies ever written in classical music – by the greatest composers – played on the cello, the most beautiful and romantic instrument of all." HAUSER could hardly be blamed for calling each of the compositions on Classic "the most iconic" or "the most beautiful" or "the most romantic" melody in classical music. Because they are. Working alongside arranger Robin Smith and producer Nick Patrick, HAUSER has adopted these immortal compositions for the cello, letting them sing as never before with help from the London Symphony Orchestra.