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When John Scofield first met Steve Swallow in the early 70s while the former was a student at Berklee College of Music, Scofield was still years away fromSco didn’t simply learn from Swallow, they’ve played together on and off over the decades. Matt Collar of AllMusicadded, "The album arrives on the heels of several other Scofield s… He has always impressed me as someone who never appears at the center of the music, but everything he does is essential, and as a result, you can easily overlook just how great he is as a drummer.I remember in an early interview with Scofield, he was asked about how he charted bass parts specifically regarding Steve Swallow.

The versatility of the assembled tracks is refreshing, too. In tune with classic 1970s folk, Michael McArthur weaves a spellbinding tale of personal growth and hope for the future with "How to Fall in Love".Greta Gerwig's film adaptation of Louisa May Alcott's classic novel Unleashing the power of love with a new single and music video premiere, Natalie Schlabs is hoping to spread the word while letting her striking voice be heard ahead of Rufus Wainwright has done Judy Garland, Shakespeare, and opera, so now it's time for Rufus to rediscover Rufus on West Coast pianist Denny Zeitlin creates a classic and adventurous live set with his long-standing trio featuring Buster Williams and Matt Wilson on Country/folk singer-songwriter Arlo McKinley's debut If you ever thought 2000s hard rock needed more guitar leads and solos, Viserra have you covered with Ryan Hamilton's "Oh No" features guest vocals from Kay Hanley of Letters to Cleo, and appears on The guitarist goes right from stating the theme to single-line notes with a few octaves tossed in a tasty brew of a solo. "Sometimes when we play it's like one big guitar, the bass part and my part together," Scofield helpfully supplies, reviewing these tunes which blend wistful, tender notes with Scofield's characteristic squally, grungy micro-licks.That's not hyperbole really, the two veteran voices, as it were, are knit in impressive union, it can be like one big guitar, Swallow's rumbling bass almostIn sum, a collection of sensitive, knowing interpretations of the Swallow classics which you should let play continuously until the inevitable result - you will need its sound in your life for a while, weaving in and out of your rooms.

John Scofield became aware of bassist Steve Swallow in the 1960s when he was a teenager. Swallow built in a drum feature for “In F” and when he first recorded the song in 2011, original John Scofield Trio drummer Nussbaum was the guy featured. The feeling that the band is perfectly tight and perfectly loose at the same time is unmistakable as they loop and swirl. On that Mulligan-Baker recording from 1975, the guitarist still sounded cleanly bell-toned, but here he plays with just as much fluid phrasing while also dirtying it up with small, distorted chords and brilliantly placed bent-note cries.The band cooks on several tunes, showing affection for uptempo swing. The guitarist's legions of jam fans—earned from his recordings with Medeski Martin & Wood and his loose identification as a hip taste to acquired by open-minded Phish fanatics—ought to get on board as well. Sco’s uniquely lyrical language is a perfect fit for Swallow’s pretty strain and the bassist’s aside is quietly expressive as well. Here, Sco is bolstered by a crisp rhythm section, and Swallow’s bass is holding down the swing so well, Stewart is free to loosen up. That was never going to happen with these elite musicians.In its original incarnation, “She Was Young” was set to lyrics — poetry, actually — by Robert Creeley, but this time, the waltz slows down. When Scofield starts playing diads or lightly strummed chords, it feels lush in the subtlest possible way. Copyright © 2020 Something Else!. "Hullo Bolinas" is also charmingly pretty, a mid-tempo waltz in a major key that starts like a show tune and then develops a blues heart as Scofield's solo turns and twists through a range of hip chords.The lovely harmonies are all there, of course, but the interplay here is as much rhythmic as it is harmonic. When John Scofield first met Steve Swallow in the early 70s while the former was a student at Berklee College of Music, Scofield was still years away from being, you know, John Scofield but Swallow was already Steve Swallow.Over the prior decade, the trailblazing bassist had been a part of Jimmy Guiffre’s cutting edge trio with Paul Bley and later Gary Burton’s groundbreaking fusion jazz band.

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