js “Uberjam Deux” is the second installment in a little acid jazz series John Scofield initiated about a decade ago. Nothing too serious going on here, this is mostly fun jams for folks who want to get their groove on. John doesn’t even stretch out on any long solos, mostly keeping the tunes short and to the point. You get a nice variety of rhythms on this CD with lots of RnB from old school to new, plus some Afro-beat, a bit of reggae and even a hint of electronica here and there. One thing that stands out over repeat listens is the fact that Scofield is an excellent RnB guitarist, something that isn’t always true with others from the jazz field. If you had to pick an overall tag for John’s career, it would be hard to choose between jazz and RnB, he’s quite good at both. The funky little riffs he supplies throughout this album are almost like a dictionary of RnB licks for any aspiring guitarist trying to learn the trade.

With today’s technology, drum loops and rhythm software it would have been easy for Scofield to put an album like this together himself, but fortunately he wisely chose to have a real rhythm section and even a second guitarist (Avi Bortnick) adding syncopated counter parts to John’s funky guitar licks. Keyboardist John Medeski also appears on some of the tunes with his signature B3 playing. I have to admit, on first listen I was disappointed in this CD because I had previously been listening to Scofield’s very demanding post bop workout on “ScoLoHoFo”, where four all-star musicians push each other to the max and John lays down some very creative extended solos. “Uberjam” is not that kind of a project and it began to win me over as I realized how excellent and abundantly plentiful John’s RnB riffs are.

For folks who like this sort of groove oriented RnB/jazz, this one is better than most. A lot of artists will slap these sort of projects together quickly and then phone in the results, but Scofield took the time to put something very nice together, and his playing and dictionary of riffs are a must hear for any aspiring RnB guitarist.

js Oh!” is the only album put out by early 21st century jazz super group, scolohofo. Unlike other “super-groups” who don’t really connect as individuals, scolohofo had spent time on the road together before they recorded this CD and had already developed a strong sense of interplay. In fact, the best feature of this disc is the way lead soloists Joe Lovano and John Scofield interact. The music on here is abstract and intellectual post bop of the variety developed by the Miles Davis quintet, but just like Miles and his crew, this music may be complex and hi-brow, but its also bluesy and street-wise at the same time. The musicians definitely work up a sweat on a couple numbers, and aren’t afraid to move outside with their solos, but there is also a certain sense of modern cool that keeps a reign on too much indulgence. This is best typified by Lovano’s sax technique where he will peak off a solo with a ‘scream’, but it’s a sort of controlled whispered scream.

Some top cuts include “The Winding Way” , with its great funky melody, and “New Amstredam”, a lengthy number that features simultaneous solos from Sco and Lo. “Shorter Form” and the opening title cut are good and “Bittersweet” is a nice ballad. As this lengthy CD wears on, the playing remains top notch, but some tunes seem to be lacking in memorable melody or discernible differences in texture. Fortunately things close on a strong note with the bluesy “Oh I See”.

John Scofield has recorded a lot of great funky fusion records over the years, but fans of his jazz playing were happy to hear him take on some challenging chord changes for a change, while being accompanied by some of the best musicians available.

js Before it even came out back in 1998, this CD got a lot of attention. MM&W were one of the leaders of a brave new nu jazz/acid jazz scene that had not been totally accepted by the jazz establishment yet. John Scofield was one of the first veteran jazz musicians to reach out to this nu scene when he invited MM&W to record “A Go Go” with him. Expectations were running so high for this one that it was hard to make everyone happy and the resultant CD is a decent funky jazz workout, but nothing particularly new or mind-blowing either. MMW’s feel for the funk is a little on the loose and jazzy side of things, so if you are looking for blistering tight funk ala The Meters or The JB’s, this one will also leave you looking as well.

The first five cuts on here are fairly solid jazz/funk numbers, somewhat old school, but with a modern slight hip-hop shuffle feel in the drums. The overall approach on here is kind of relaxed and loungey, although they do get heated sometimes too. Scofield and keyboardist John Medeski play great solos throughout and favor clever twists on clichés over pyro-techniques which goes well with the relaxed rhythmic feel. Martin and Wood are a decent rhythm section, but Scofield has played with better.

After the first five cuts the band gets a little more experimental, with mixed results. MM&W, along with other groups from the “jam band” scene, have brought back a certain shaggy hippy approach to music that may have more appeal to young jam band fans than jazz fans, or even fusion fans. Overall this is a good CD and should appeal to fans of both artists as well as fans of the jazzier end of today’s jam scene.

Rokukai One of the best Ray Charles tribute albums that flooded the market following his death, "That's What I Say: John Scofield Plays the Music of Ray Charles" fits nicely into John Scofield's eclectic discography. Jazz fans will find plenty to like, and Charles fans will be delighted as Scofield and his all-star crew breathe new life into 13 Ray favorites (not all Ray originals). The set starts with a bang, as "Busted" flies through the speakers and reminds every listener what a great song it is.

Along the way, you get to hear standards like "Hit the Road Jack" "Georgia on My Mind" "You Don't Know Me" and "What'd I Say". Then there's the songs you won't hear on many Charles compilations--"Unchain My Heart" "Cryin' Time" and "Talkin' 'bout You".

True heavyweights deliver the vocals. Art Neville, John Mayer, Mavis Staples, Dr. John. My only qualm--why no country star? Hell, this record would be awesome if Merle Haggard sang "Cryin' Time" or Junior Brown sang and played his axe on "Busted".

At any rate, it's great to hear a jazzer interpret C&W material, and Scofield churns out another winner with this one.

js Its been a while since I checked out a new John Scofield release, so I wasn’t really sure what to expect since he can be fairly eclectic anyway. After a few minutes of ‘A Moment’s Peace’ I thought I had it figured out, it sounded like a familiar formula for today’s ‘Contemporary’ genre, a polite mix of post-bop and mellow smooth jazz for non-obtrusive intelligent background music. I’m glad I kept listening because what we have here is much better than just sophisticated aural wallpaper. Like Chet Baker, Peggy Lee, and the ‘cool’ side of Miles, Scofield keeps things relaxed, but you can tell there is plenty of fire smoldering just beneath.

One of the big pluses with ‘Moment’s Peace’ is the abundance of fine memorable melodies, something that is often lacking from more generic contemporary jazz. Scofield chooses his tunes wisely, mixing some classic ballads with his own originals and a couple recent pop ‘new-standards‘. Some of the tunes are pretty and sentimental without being maudlin, while others are in a relaxed bluesy hard bop style. This mixture of sophisticated pop and jazz blues works well because if the CD had too much of one or the other style it would be far less interesting. The rhythm section gets a little free on some of the hard bop tunes recalling another classic relaxed free-range blues bop guitar album, McLaughlin’s ‘Extrapolations’.

Although the mood on here remains relaxed, all of the musicians play with a sense of creative integrity, as well as a playful sense of humor. Its that lack of ironic urbane humor that makes much of contemporary jazz pale in comparison to the great musical wits of the Charlie Parkers and Duke Ellingtons.

This is a great CD, there is plenty of ‘real jazz’ for the bohemian inclined, and enough recognizable ‘music’ for the casual listener, possibly the ultimate CD for a jazz lover and non-fan to enjoy together.