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John Scofield in GP Magazine
#JohnScofield
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It just seems to me that Sco was getting a ton of free publicity focused on the exzct people that might buy his recordings.
Is it so unreasonable to ask him how he thinks about soloing? I'd say it's unreasonable for him to blow off the question. Basically, he refused to talk about how he thinks about soloing and said "buy the album". I think he was rude, and he knew it. |
You haven't heard the "Last Nite" disc, then.No, I hadn't, thanks. But listening to the samples on allmusic I still don't hear any jazz, only blues and modal fusion. Can you recommend any recordings of his where he negotiates the tricky changes of jazz standards? That would be my criterion for putting him in the same class as Sco as a jazz guitarist. -Keith |
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The solo on Kid Charlemagne is a classic. He is obviously playing over
the changes which are more complex during his solo then during the verse or chorus. Not ii-v's but changes in key never the less. I frankly can't imagine Joe Pass (a genius of jazz guitar) play anything any better or more harmonically logical on that tune. I love great guitar players. Carlton, Scofield and Pass all qualify. As do Jerry Reed, Tommy Emmanuel, Paco, Eric Johnson among hundreds of others. If they have a voice, I'll listen to what they have to say. Scott On Mon, 29 Nov 2010 15:24:35 -0000 "keithfre" <keith.freeman@...> writes: ____________________________________________________________You haven't heard the "Last Nite" disc, then.No, I hadn't, thanks. But listening to the samples on allmusic I Explosive Stock Secrets Learn the Secret art of picking penny stocks before they spike |
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On Nov 28, 2010, at 11:45 PM, funkifized34 wrote:
I have that cassette some great playing on there. Cuts from that gig are on an instructional vid Carlton had out in the 80s. Cut my teeth on that vid and coincidentally Sco's On Imporvisation. Very good stuff on both. Ron Living and playing outside the box. [Non-text portions of this message have been removed] |
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artour.kats
My personal opinion is that both SCO and Carlton are well aknoweledged players but SCO
incomparable he has got his wery own feel , everything he plays has SCO written through his playing . he is on of the best jazz guitarists out there. there are many gigantic jazz guitarists but very few can sound as musical and bottomlessly inventive improvisers off all times. in my opinion Carlton isn't in category of best jazz IMPROVISERS |
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Well he's heard this question about a trillion times I'm sure. Sco did pay his dues. I've heard from people (on this list) who described him as a student at Berkeley transcribing and coping practically everything that Joe Pass ever did. Anyone who thinks that is a walk in park has never tried it. Then he moved on and integrated that ( and Jim Hall) with what he already knew about rock era guitar.
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The he spent the rest of his life doing it every day and every night. There is no logic to creating great solos, and who knows where it comes from, but not from the conscious mind that is for sure. On that great album (that certainly is jazz) called Time On My Hands, with Jack Dejonette, Charlie Haydn, and Joe Levano, he created some awesome ballad solos. There was an interview with the transcriber who asked him why he played those notes. He said, that was because of something that Charlie and Joe were doing in that tune, I was following them, it was in the moment. One of my favorite visual artists, Chuck Close, was asked how he was inspired to do his paintings and how he planned it all out, and he said, I'll hell you one thing, it ain't inspiration. Inspiration is for sissies. It's all about getting up in the morning and working you ass off for decades, and great things only come from those who see the little bits of what is good in what they do and expand on that, leave the unsuccessful stuff out. It's damn hard work. Having said that, Sco's solos are not like Wes Montgomery,with an elegant beginning, middle, and conclusion, like a classic poem. They are much more in the raw moment than that. Don't think Coltrane could describe what he did either, or Bird. All depends on the moment and how you've prepared yourself. j --- In jazz_guitar@..., JVegaTrio@... wrote:
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On 11/29/2010 10:33 PM, jack wrote:
Inspiration is for sissies. It's all about getting up in the morning and working you ass off for decades, and great things only come from those who see the little bits of what is good in what they do and expand on that, leave the unsuccessful stuff out. It's damn hard work.Well said! best, Bobby |
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Amen. I think it was Thomas Edison who said, "Genius is 90% perspiration,
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and 10% inspiration", or something to that effect... Cheers, JV Juan Vega In a message dated 11/30/2010 5:44:53 A.M. Pacific Standard Time,
bobbybmusic@... writes: Inspiration is for sissies. It's all about getting up in the morning and working your ass off for decades, and great things only come from those who see the little bits of what is good in what they do and expand on that, leave the unsuccessful stuff out. It's damn hard work. |
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Jeff Shirkey
On Dec 6, 2010, at 12:48 PM, joe_jazz_2000 wrote:
An interesting thread that evolved from a discussion of Sco's GPAgreed, but there's nothing wrong with those articles is there? The title isn't "Ten Easy Steps to Becoming John Scofield," after all. Everyone cops licks. I'd think he might be flattered if someone thought he played some particularly cool lines that were worthy of transcription, analysis and study. It seemed to me that that was where the interviewer's question was coming from. Jeff |
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Hi Jeff,
Agreed, but there's nothing wrong with those articles is there?No, there isn't. But there's nothing wrong with refusing to answer these types of questions, either. There is nothing flattering about someone asking, "What did you do there?". When I teach, I teach. When I play, I play. I'm sure that Sco, who does teach, feels the same way. Being asked to reduce one's own playing to a math equation is not a compliment. best, Bobby |
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Jeff Shirkey
There is nothing flattering about someoneI'm glad most players don't appear to take that kind of attitude. I think most people do take it as a compliment, and they don't mind reflecting on what they played. If everyone felt the way you and Sco do, then all we'd be left is something like, "Well, I played whatever I played, man. I don't know how I did it. I don't care to analyze it. Good luck." And that's just a bunch of elitist crap designed to mystify the creative process--"Don't ask me to talk about what I do, man...I'm just...you know...in tune with the cosmos when I'm playing." Bullshiiiiiiiiiiiiiiit. lol Jeff |
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On 12/6/2010 4:31 PM, Jeff Shirkey wrote:
If everyone felt the way you and ScoNo, Jeff, You don't get my point. I've been more than happy to answer the question (usually dependent upon the attitude of the person asking), many, many times over the years. But there's a time and place for everything. If I just played something I'm particularly proud of, and the only question aomeone can come up with is, "Hey, Dude, what scale was that?", I'm not interested. More often than not, it's not a question a real music aficionado |
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On 12/6/2010 4:31 PM, Jeff Shirkey wrote:
If everyone felt the way you and ScoNo, Jeff, You don't get my point. I've been more than happy to answer the question (usually dependent upon the attitude of the person asking), many, many times over the years. But there's a time and place for everything. If I just played something I'm particularly proud of, and the only question someone can come up with is, "Hey, Dude, what scale was that?", I'm not interested. More often than not, it's not a question a real music aficionado would ask. best, Bobby |
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What is saying is that the interviewer didn't do his homework. Think of all the relevant and/or enlightened questions he could have asked?
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But he wasn't prepared. When someone has been in the trenches and played and recorded with some of the best jazz players alive, for 30 years. It isn't too much to ask for the interviewer to think of intelligent questions to ask a major figure in the music (whether you like his sound or not). Even I could have even thought of a bunch of good questions and I'm certainly not working for a music publication. I'm just an amateur admirer of jazz guitar. People used to ask Joe Pass all the time what is that scale your playing and he'd always say, I don't know. I'm not thinking about it. j --- In jazz_guitar@..., Bob Hansmann <bobbybmusic@...> wrote:
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I have been playing now for 42 years i studied with some of the best players around Philly and for decades not short stints.I have considerable playing experience. IMO too many players have a bias against serious chord study. Studying chords by string groupings, patterns, harmonized scales, voicings on all six strings, and chord melody arranging. There is a lead guitar syndrome out there in which players who are more rock and fusion oriented regard chord study with little interest because they think arranging standards is old fashioned!
Endless modal and scale anaylsis of tunes has a limited value IMO. Joe Pass didn't think in those terms because he thought in terms of the chords and melody. That is were it is at. For anybody to ask a player what were you thinking about in a solo is rather strange. You can't think and play in the moment! Now i am not saying don't study scales and arpeggios but they are just tools the heart of the matter is the changes. I haven't heard John Scofield play too many changes his playing leaves me flat. While it is my aesthetic taste to not like him but listen to players who are accomplished with melody and chords and modern jazz. I think a jazz guitarist who is not playing chord melody and play convicing solo guitar is not a jazz guitarist. If you want to play hot solos STUDY THE CHORDS IT'S THE CHORDS THE CHORDS THE CHORDS! Scofield i am sorry he is not my cup of tea. I will no doubt bother some folks with this post but my frustration is hearing people talk endlessly about scales. Why dont they talk about Changes. I finally said it now it is out of my system. Love you all even if you dont like what i have said! Peace Tony Hughes |
Scott Dercks
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