John Scofield Out Louder Raritan
There are 'loud' moments on this studio set, but the title cut's name is more a humorous attempt to describe the Quartet's music than an accurate depiction of their style. The leader/guitarist, who sounds typically distinctive, welcomes guest keyboardist to five of his nine originals. Regular group of the era consisted of keyboardist, electric bassist and drummer and they are also joined here by percussionist.
The music (which includes such numbers as 'Tell You What,' 'Dirty Rice,' 'Wabash' and 'Spy Vs. IMSI MasterClips 250. Spy') has few memorable melodies but plenty of dynamic playing by, who at this point was growing as a major stylist from album to album. A strong effort.
Please don't hesitate to email us if you have any questions, suggestions or issues. We also welcome feedback on how we can improve our services. The earliest compositions date from around 1960, the time of his study under John Gardner at Chico State in English 20A: Creative Writing. In the decade and a half. They seem puzzled at the incident, that has been happening 'one out of every two to three nights' for the last three months. The man showers, as the woman.
Reunites keyboardist, drummer, and bassist with guitar great, who employed the trio on his 1997 album. That record opened the creativity gates for both the trio and, who fed off and goaded each other into territories neither party had previously gone separately. Isn't so much a rematch as an upgrade. Both and have continued to explore in the near-decade since, 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 minus the trumpet. Although the players, particularly and, take several opportunities to reach for the outside fringes, 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 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 and challenging each other as if they were and having it out at some late-night club, and 'Down the Tube,' though essentially a simple funky blues, flirts with psychedelia, turning in some of his most startling playing of the set. The session ends with a virtually unrecognizable improv on 's reggae anthem 'Legalize It' that spotlights and in lockstep groove. If ever and decided to make something more permanent of their meet-ups, one can only guess where else they might go.
