Review by Michael G. Nastos
John Scofield has turned the corner from journeyman jazz guitarist to become one of the most inventive and witty players on the contemporary scene. This date, his first for the Blue Note label, builds on a discography following several recordings for the Gramavision label, and also progresses this contemporary jazz music into an individualism that can only bode well for his future efforts. Teamed with the rising-star saxophonist Joe Lovano and the bulletproof rhythm team of bassist Charlie Haden and drummer Jack DeJohnette, Scofield is emerging as a player of distinction on the electric guitar, and a composer whose mirthful ideas add spark and vigor to his newfound musical setting. In this co-production with Peter Erskine, Sco has found his melodic stride in making music that is bright and clever without being overly intellectual, retaining a soulful quality enriched by the deep-rooted, bluesy tenor sax of Lovano. What is most refreshing is that this music has broken free of clichés from the earlier original fusion movement, and what Scofield might have accomplished prior. "Farmacology" is an excellent example of this, more in the hard bop vein and echoing both ringing country twang and the unique voicings of Ornette Coleman. There's rambling neo-bop and good-time fun in the unison of guitar and tenor sax during "Wabash III," a lighter, elegant, but free and melodic tone in 6/8 time for "Flower Power," and squeaky clean, sweet, easygoing swing demonstrated on "Since You Asked." Haden and DeJohnette are so well matched as a rhythm team that it's easy to take them for granted, while hard to ignore their brilliance. They load up on New Orleans-style blues while Scofield doles out amusing and fractured lines for "So Sue Me," collectively move to a sleek and sneaky stance on "Let's Say We Did," and rip up a driven, forceful neo-bop for the linear melody of the witty "Stranger to the Light." Even though it's a first-time issue on CD, there are three bonus tracks, including the soul song shuffle "Time and Tide," a free, loose association that identifies "Be Hear Now," and the big-time, rock & roll-flavored, squawky "Fat Lip." It's hard to fathom this being anything other than a sustainable new direction for Scofield's music, one that he can enhance as bandmembers come and go in the not too distant future.
https://www.allmusic.com/album/time-on-my-hands-mw0000204403
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Crítica de Michael G. Nastos
John Scofield ha pasado de ser un guitarrista de jazz profesional a convertirse en uno de los intérpretes más ingeniosos e inventivos de la escena contemporánea. Esta fecha, su primera para el sello Blue Note, se basa en una discografía tras varias grabaciones para el sello Gramavision, y también hace progresar esta música de jazz contemporáneo hacia un individualismo que sólo puede presagiar cosas buenas para sus futuros esfuerzos. Junto con el saxofonista Joe Lovano y el equipo rítmico a prueba de balas formado por el bajista Charlie Haden y el batería Jack DeJohnette, Scofield se perfila como un destacado intérprete de la guitarra eléctrica y un compositor cuyas alegres ideas añaden chispa y vigor a su nuevo entorno musical. En esta coproducción con Peter Erskine, Sco ha encontrado su paso melódico para hacer música brillante e inteligente sin ser demasiado intelectual, conservando una calidad conmovedora enriquecida por el arraigado saxo tenor bluesy de Lovano. Lo más refrescante es que esta música se ha liberado de los clichés del anterior movimiento de fusión original, y de lo que Scofield podría haber logrado antes. «Farmacology» es un excelente ejemplo de ello, más en la vena del hard bop y con ecos tanto del timbre country twang como de los singulares voicings de Ornette Coleman. Hay neo-bop ramplón y diversión a buen ritmo en el unísono de guitarra y saxo tenor durante «Wabash III», un tono más ligero, elegante, pero libre y melódico en compás de 6/8 para «Flower Power», y un swing chirriante, dulce y desenfadado demostrado en «Since You Asked». Haden y DeJohnette se compenetran tan bien como equipo rítmico que es fácil darlos por sentados, pero es difícil ignorar su brillantez. Se cargan de blues al estilo de Nueva Orleans mientras Scofield reparte líneas divertidas y fracturadas para «So Sue Me», se mueven colectivamente a una postura elegante y furtiva en «Let's Say We Did», y rasgan un neo-bop impulsado y contundente para la melodía lineal de la ingeniosa «Stranger to the Light». Aunque es la primera vez que se edita en CD, hay tres temas extra, incluido el shuffle de canción soul «Time and Tide», una asociación libre y suelta que identifica «Be Hear Now», y la chillona «Fat Lip», con sabor a rock & roll. Es difícil imaginar que esto sea otra cosa que una nueva dirección sostenible para la música de Scofield, una que pueda mejorar a medida que los miembros de la banda vayan y vengan en un futuro no muy lejano.
https://www.allmusic.com/album/time-on-my-hands-mw0000204403
www.johnscofield.com ...
Tracks:
1 - Wabash III - 6:20
2 - Since You Asked - 6:10
3 - So Sue Me - 5:58
4 - Let's Say We Did - 4:22
5 - Flower Power - 4:57
6 - Stranger To The Light - 7:27
7 - Nocturnal Mission - 4:13
8 - Farmacology - 6:40
9 - Time And Tide - 5:48
10 - Be Hear Now - 6:50
11 - Fat Lip - 3:45
Credits:
Artwork – Carol Friedman, Patrick Roques
Bass – Charlie Haden
Composed By – John Scofield
Drums – Jack DeJohnette
Engineer – James Farber
Engineer [Assistant] – Gary Solomon
Guitar – John Scofield
Mastered By – Bob Ludwig
Photography By – Carol Friedman
Producer – John Scofield, Peter Erskine
Saxophone – Joe Lovano
Recorded at Power Station NYC November 19-21 1989
Label: Blue Note – CDP 7 92894 2
Country: US
Released: 1990
Genre: Jazz, Funk / Soul
Style: Post Bop, Jazz-Rock, Rhythm & Blues
https://www.discogs.com/release/1953986-John-Scofield-Time-On-My-Hands
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