Throughout his days as a guitarist with Jazz-Funk pioneer Billy Cobham, his 1980s Fusion classics with Miles Davis, and his later solo career, John Scofield has developed an extremely individual sound, bolstered by many top-notch sidemen. He's simplified his style over the years, opting for a bluesy, funkier vibe compared to his earlier, more complex songwriting. While many guitarists express themselves with endless streams of eighth notes, Scofield makes his mark by expertly finding the notes that carry over from chord to chord -- though to be fair, Scofield can blaze a fast Bebop run with unbelievable ease. His distinct, behind-the-beat rhythmic phrasing, trademark chorus, and semi-hollowbody sound have influenced thousands of guitarists.
John Scofield Concert Films
New Morning: The Paris Concert
Runtime: 1 hr 56 minJohn is considered one of the most important and influential jazz guitarists and composers since he arrived on the scene in the mid '70s. A masterful improviser at the peak of his creative art, Scofield revisits compositions & interpretations richly combining post-bop, funk-edged jazz, and R&B influences. This brilliant performance by John Scofield (backed by master drummer Bill Stewart, bassist Ben Street and pianist Michael Eckroth) is a true gem.
John Scofield Top Tracks
Live at Montreux
Return To Forever
Runtime: 1 hr 49 minReturn To Forever were at the forefront of jazz/rock fusion in the seventies and like their contemporaries Weather Report and Mahavishnu Orchestra were formed by a former Miles Davis sideman, in this case the great Chick Corea. Return To Forever hit their commercial and artistic peak with a string of albums in the mid-seventies featuring the line-up of Chick Corea on keyboards, Stanley Clarke on bass, Al Di Meola on guitar and Lenny White on drums. In 2008 this classic line-up reunited for their first tour in 25 years and proved that their musicianship and the chemistry within the band were as strong as ever. This concert was filmed at Montreux in July 2008 with the bonus tracks being filmed in Clearwater, Florida later the same month.
Bowlive: Live at the Brooklyn Bowl
Runtime: 2 hr 12 minIn March of 2010, the members of Soulive hauled their instruments through the doors of a newly-opened warehouse-turned-music venue in Brooklyn that they would call home for the next two weeks. Eric Krasno, Alan Evans and Neal Evans called on a multitude of their closest friends and musical conspirators to join them over the next fortnight - creating an incredibly broad guest lineup that included some of the pre-eminent guitar virtuosos of our generation (Derek Trucks, Warren Haynes), some of the biggest names in hip-hop (Questlove, Rahzel), and some of the most inventive improvisational players in modern rock n' roll (Robert Randolph, Marco Benevento, Oteil & Kofi Burbridge). The Brooklyn Bowl quickly became the mecca for these very distinct yet like-minded musicians, where they returned night after night, donning the dress code for good times (bowling shoes) and sharing famous Blue Ribbon fried chicken. The common thread that tied together all these disparate ingredients quickly became palpable -- from the transcendental heartfelt improvisations onstage to the homey & playful atmosphere provided by the bowling alley, the Soulive residency was like nothing that had come before it because all of those diverse elements fused to ultimately bring the Soul to Brooklyn Bowl.
Solos: The Jazz Sessions
Runtime: 49 minJoe Lovano began playing alto saxophone as a child. His father, tenor saxophonist Tony "Big T" Lovano, schooled young Joe in jazz dynamics and interpretation, and regularly exposed him to the live performances of international jazz artists . Lovano uses a variety of horns and gongs to wind his way through several of his own compositions, standards and improvisations.
Let Us Play
Runtime: 45 min'Let Us Play' chronicles a 6 month period on the road and in the recording studio with the funk band, Lettuce. Breaking down the mechanics of improvisation and the artistry of making a modern funk record.
Directed by Jay Sansone, this experiment in rouge and guerrilla film making was shot with mostly a single camera on the road, in the studio, and between sessions.
Runtime: 1 hr 35 minThis concert-film features exclusive candid interviews and acoustic performances from the guest artists. The project is a true testament for showing first-hand how music can be a bridge between diverse cultures from countries from all over the world to create a unifying musical statement for the average listener or the devout music-connoisseur.
The Way Up: Live
Pat Metheny Group
Runtime: 1 hr 9 minPat Metheny is one of the most original and distinctive guitarists of modern times. Together with long time collaborator and keyboards player Lyle Mays he founded the Pat Metheny Group in 1978. Instantly successful, they have established themselves at the forefront of jazz-rock fusion with a succession of best selling albums and sell out world tours. Filmed in late 2005, features the full concert version of his most recent album "The Way Up", which earned Pat Metheny Group their 10th Grammy Award® and Metheny personally his 17th.
Solos: The Jazz Sessions
Runtime: 1 hr 2 minAn up-close portrayal of Frisell, filmed by Daniel Berman at the Berkeley Church in Toronto. This rare solo session features an intimate look into his electric guitar and looping wizardry, and includes an exclusive interview with Frisell. On the taping of Solos Frisell comments, "It's a weird thing playing solo. I live for the interaction with other musicians."
Solos: The Jazz Sessions
Runtime: 48 minGuitarist John Abercrombie combines bop and free jazz stylistic elements with electronics utilizing phase shifters, guitar synthesizers and the good old volume pedal. What has kept his playing fresh is his refusal to be chained to these digital devices. As he told Down Beat writer Bill Milkowski, "I try to adjust my playing to the timbre and learn something about how to play that sound, yet at the same time I have to try and force the instrument to play with me a little bit. In other word, I sometimes try to overplay the instrument."