IMN : Updates for John Scofield

INTERVIEW: John Scofield - JazzWax

IMN

April 2nd, 2012

from JazzWax

Interview: John Scofield
By Marc Myers

John Scofield has one of the most distinctive sounds of all the electric guitarists who came of age in the jazz-fusion era in the early 1970s. John is able to make his notes ring like a bell, and his lines are horn-like, living in the space just where rock meets the funky blues.

John is perhaps best known today for his period with Miles Davis, though he has recorded plenty of albums before and after. With Miles, John recorded Star People, You’re Under Arrest and Decoy, as well as all of the touring dates in the U.S. and Europe between 1982 and 1985.

In my conversation with John, 60, the guitarist talks about entering the jazz space with rock exposure, and his experience with Davis:

JazzWax: Where did you grow up?
John Scofield: In Wilton, Conn. My parents had met in Washington, D.C., during World War II. My father was a market researcher for a petrochemical company. He knew a great deal about rubber. I was born in Dayton, Ohio, but we moved to Houston for a year in 1959 when he worked for a company there. Then we moved to Wilton when he took a job nearby at Mobil Chemical. [Pictured above, John Scofield in 1963 with his first guitar]

JW: Were you a prodigy, or did you take to music slowly?
JS: The latter is probably accurate. In my suburban town, everyone was into rock. Jimi Hendrix and Eric Clapton were early influences. I had heard them in concert and also began to become interested in folk music, R&B and the blues. That led me to jazz in high school and lessons with Alan Dean, a guitar teacher and frustrated bebopper who worked at Merritt Music, a local music shop. I took lessons with him starting at age 15. Before that I was a run-of-the-mill rock guitar kid. Alan helped me with jazz and the blues.

JW: And after high school?
JS: I attended Berklee College of Music in Boston starting in 1970. At Berklee I met great players. I wasn’t a wunderkind by any means. Music was a slow, hard road for me from age 16 to 23. When I went to Berklee, it was still the Herb Pomeroy Berklee. Drummer Joe Hunt came up to teach. Vibraphonist Gary Burton and bassists John Neves and Steve Swallow were there, too. Gary was the first great jazz artist I had a chance to play with often, and he was a big help in my development.

read the full article here

INTERVIEW: John Scofield - Taking It Slow

IMN

November 16th, 2011

from Premier Guitar

Interview: John Scofield – Taking It Slow
By Jason Shadrick

On the heels of his latest album, A Moment’s Peace, we caught up with Sco to discuss his approach to ballads, the secret to playing slow and his favorite ballad performances.

The art of effectively playing a ballad is a delicate thing. Balancing the sensitivity of a melody with the intense spirit of improvisation has been a constant struggle for musicians for eons. Within that struggle lies the excitement and challenge that guitarist John Scofield tackles with his latest album, A Moment’s Peace. Over the course of a 30+ year career Scofield has tackled everything from cutting-edge fusion (Blue Matter) to down-and-dirty NOLA funk (Flat Out) and techno-jam-band grooves (Überjam). “A ballad album was just the next thing on my to-do list,” says Scofield. Normally, a jazz ballads record is a collection of tried and true standards that have been recorded and performed countless times. With this album, Scofield took a slightly different approach by composing about half of the tunes on the album. “They sound like they could have lyrics, part of them anyways, and that’s what I like about jazz ballads,” mentions Scofield. That implied lyricism is demonstrated in the gentle bossa nova of “Simply Put” and within the folkloric nuances of “Plain Song.”

More so than almost any of his other albums, Scofield’s tone and phrasing is genuine and honest. He might not always wear his influences on his sleeve, but they are usually within arm’s reach. Keeping things simple with little to no effects and a relatively clean tone, Scofield snakes through this set of tunes backed by longtime collaborator, keyboardist Larry Goldings, as well as bassist Scott Colley and drummer Brian Blade. “With ballads, you are always in danger of treading too lightly,” states Scofield. Blade and Colley deftly handle that fine line with their always pulsating and propulsive accompaniment. We caught up with Sco to discuss his approach to ballads, the secret to playing slow and his favorite ballad performances.

You have covered a lot of stylistic ground over your career. What prompted you to do an album of ballads?
I really felt like now was the time. I feel like I’m able to do it know. When I was younger, I was more into playing hot. I’m still into that and trying to shred but I feel like I can actually play a ballad now.

Do you approach a ballad differently than other tunes?
It’s completely different. Most of these, first of all, are songs. They have a melody and the melody reigns supreme, even when you are blowing on it the melody is always in your mind. The songs I wrote for this album follow that tradition too. It’s really about trying to sing on your guitar. If I were to really oversimplify it I would say I just don’t play so many notes. When you have a slow tempo, there’s room for so much interpretation of the beat. You can play rubato over it, which is tricky because you always have to keep you place at the same time. You can also play a lot of fast stuff, which is what I got into on “I Want to Talk About You,” which is a tune John Coltrane played. Mainly, I would say it’s really just playing the song and your interpretation of it and letting the music breathe. This record is all about the four of us playing together. Also, you need to get a nice sound. When you’re playing fast, it almost always doesn’t matter what your guitar sounds like. Well, It doesn’t matter as much, let’s put it that way.

Read the full article here

A Peaceful Moment With John Scofield

IMN

November 6th, 2011

from Move

A peaceful moment with a jazz icon: John Scofield tells it all
By Matthew Flores

John Scofield chats about his newest album, jazz maturity, passing the torch and what it was like to play with the great Miles Davis.

John Scofield is a man at peace. After nearly 40 years and enough records to stuff Dizzy Gillespie’s cheeks, the man known as “Sco” has released an album that perfectly exemplifies his skills as a guitar player: cool, confident and full of the experience that only comes after decades writing and recording music.

A Moment’s Peace is not stereotypical Scofield. Gone are the incendiary leads and frenetic, funky jams he has become known for. This is a set of ballads, ranging from the unique (a relaxed cover of The Beatles’ “I Will”) to the smooth and groovy (“You Don’t Know What Love Is”) to the laid-back and delicate (“Already September,” a standout Scofield composition).

Scofield talked with MOVE about his newest release, his newfound jazz maturity and what it was like to play with the great Miles Davis.

[MOVE]A Moment’s Peace, as the title suggests, is much more tranquil than many of your other albums. What prompted the shift in tone and mood on this album?

[John Scofield] I kind of shift tone and mood somewhat for all of my albums. The temptation when you’re a jazz musician is to just make the same record over and over again because you like jazz and you want to get it right. I like to have all of them actually be a little bit different, in order to get some variety. I feel like I’m actually able to play ballads now. I’ve always been a fan of jazz performances of ballads and slow material, but I feel like I’m good at it now. It took me a while to reach a certain maturity.

*[MOVE]*Where did you find a lot of inspiration for this album?

[JS] I think it’s really the greats of music that inspire me, on this album and for all things. I do get a lot of inspiration from the greats of jazz, really and their ballad performances. Miles (Davis), (John) Coltrane … Ben Webster was a great ballads player and Bill Evans on the piano, to name a few.

Read the full interview here

A Cosmic Thing Happened With John Scofield

IMN

October 20th, 2011

From Jambands

A Cosmic Thing Happened With John Scofield
By: Randy Ray

John Scofield returns with his first studio album since 2009’s Piety Street. Whereas that project focused on music familiar to gospel music lovers, the guitarist turns another corner on A Moment’s Peace and shifts his musical ear on the ballad. Neither too quiet, nor too rambunctious, Sco finds a sweet sonic balance between the notes that makes his original and cover tunes on the even dozen project a pure listening joy. The legendary axe man has been quite busy of late, playing in various configurations and featuring layers of collaborations in the “million bands” he has formed and focused in the past few years.

Jambands.com caught up with Scofield before he takes another variation of his group, a quartet, on the road in the United States for a one month trek which begins on October 18 after numerous international dates in South America and Europe with other outfits. The ballads album showcases another side of his playing while also offering yet another look at the artistic colors in the man’s myriad of stylistic choices. What is so refreshing is that whereas Scofield can play in everything from a Danish orchestra to the Allman Brothers Band to Medeski, Scofield, Martin & Wood, he never loses his consistently powerful voice on guitar. The instrument speaks loudly and softly within the textures of these many musical environments, and he does very well here, too, in our conversation.

To read the interview click here

A Moment's Peace

IMN

September 27th, 2011

Guitarist John Scofield Announces US Tour

Scofield Embraces Ballads on his Critically Acclaimed Album A Moment’s Peace , Released in the US September 27

(New York, NY) – A bona fide guitar hero and masterful improviser, John Scofield has covered a wide spectrum of musical styles with rare authority over the last four decades. From funk & fusion to swinging jazz, rock jams, orchestral collaborations, earthy blues and old-time gospel music, Scofield has imbued each style with his distinctive sound, earning accolades for his triumphs along the way.

Scofield’s will tour the US beginning at Catalina’s in Los Angeles on October 18 through a week at the Blue Note in New York starting November 29. Scofield’s touring group will feature Michael Eckroth on piano, Ben Street on bass and Gregory Hutchinson on drums.

On A Moment’s Peace (EmArcy), his follow-up to 2009’s gospel-drenched Piety Street, Scofield and his all-star crew of pianist/organist Larry Goldings, bassist Scott Colley and drummer Brian Blade luxuriate in ballads associated with such legendary interpreters of song as Billie Holiday, Abbey Lincoln, Nina Simone and John Coltrane. Included in the collection, Scofield’s third outing on EmArcy, are five new originals by the guitar great, along with soulful interpretations of the lyrical Lennon-McCartney number “I Will” and Carla Bley’s serene “Lawns.”

The New York Times raved “A Moment’s Peace has its hooks in, and there’s nothing to do but play it again.” Relix Magazine called A Moment’s Peace “sublime” and “exquisitely touching”; All About Jazz said: “A Moment’s Peace may not exactly be a ballads album by conventional definition, but it’s the most relaxed album the guitarist has ever released;” and Vintage Guitar stated: “Scofield’s emotive playing is a perfect fit for this batch of songs.”

“It’s an album of slow, gentle music,” says the perennial poll-winning guitarist. “But at the same time, we didn’t want it to be easy listening. We tried to really play on all the tunes. For me, no matter what kind of music, it’s really important that it be fresh and that we’re really playing something.”

From sublime renderings of “I Want to Talk About You” and “You Don’t Know What Love Is” to “Gee Baby Ain’t I Good to You” and “I Loves You Porgy,” Scofield fills each of these timeless gems with an uncommonly expressive approach to his instrument while stretching out in the tradition of the great melodic improvisers. And his highly interactive rhythm section, marked by Colley’s formidable presence on bass, Goldings’ thoughtful orchestrations on both piano and organ and Blade’s sensitive, intuitive touch on the kit, helps make all of these tunes come alive in the moment.

REVIEW: John Scofield A Moment's Peace

IMN

September 27th, 2011

from The New York Times

John Scofield A Moment’s Peace (Emarcy) and Bill Frisell’s All We Are Saying (Savoy)
By Nate Chinen

Bill Frisell and John Scofield have been pre-eminent jazz guitarists for roughly the same amount of time, each earning his reputation with an unmistakable sound, an identifiable style and a succession of fine working bands. They share a flexible grasp of the jazz tradition, informed by the pop influences of their age group. (Both were born in 1951.) They often worked together in the late 1980s and early ’90s, but their careers have since run along parallel tracks, intersecting rarely.

By coincidence they both have characteristic new albums releasing on Tuesday and reaching for some of the same ideals. “All We Are Saying …” is Mr. Frisell’s countrified tribute to the songs of John Lennon, made with regular partners. “A Moment’s Peace” is an all-ballads effort by Mr. Scofield, with an ace rhythm section. Both albums can feel a little drowsy, giving off a soft glow of middle-aged good taste. But to stop there, in either case, would be to overlook a great deal of sensitivity and artful restraint.

Mr. Frisell’s album represents a labor of love as well as a crossover attempt: this music makes up a substantial part of his DNA. He’s working with the violinist Jenny Scheinman, the steel guitarist Greg Leisz, the bassist Tony Scherr and the drummer Kenny Wollesen — musicians who have formed the core of his stable in recent years — as well as Lee Townsend, his longtime producer. The arrangements don’t stray far from the source material. Radical reinvention doesn’t seem to be the aim.

Which is one reason it might be easy to underestimate “All We Are Saying …” Another reason: It begins with a cache of Lennon’s more familiar songs — “Across the Universe,” “Revolution,” “Nowhere Man,” Imagine” — treated with too much cautious respect.

The album’s superior stretch takes up what would be Side B of the LP, with a beautifully lilting “Julia,” a starkly tender “Woman,” a terse, slow-drag “Mother.” Some of the band’s most soulful playing comes on “Beautiful Boy,” as Mr. Frisell and Ms. Scheinman harmonize the melody over a slippery but emphatic groove by Mr. Wollesen and Mr. Scherr. And things get powerfully ethereal on the closing track, “Give Peace a Chance,” which gave the album its title phrase and, one suspects, its implicit agenda.

As it happens, there’s a Beatles tune on “A Moment’s Peace,” but it’s one by Paul McCartney: “I Will,” recast in a simmering gospel mode. There’s no repertory angle on this toned-down album, nearly half of which consists of original songs with titles like “Simply Put” and “Plain Song.” Mr. Scofield, who has trafficked recently in an assertive groove, almost seems to be setting reminders for himself.

The presence of a standard associated with John Coltrane, “I Want to Talk About You,” is the tip-off to the album’s real intentions. More than anything, it suggests a nod to the Coltrane Quartet’s handling of ballads (notably on the 1963 album “Ballads”), with burners set to a low simmer. Mr. Scofield’s band features musicians who thrive at this game: the pianist and Hammond B-3 organist Larry Goldings, the bassist Scott Colley and the drummer Brian Blade. On a song like “You Don’t Know What Love Is,” their rapport is the definition of muted tension.

Mr. Scofield takes a natural lead throughout the album, bringing smoky drama to his reading of “Throw It Away,” by Abbey Lincoln, and springy ease to his own “Mood Returns.” By the time he gets to the melody of “I Loves You Porgy,” against a spooky organ accompaniment by Mr. Goldings, the album has its hooks in, and there’s nothing to do but play it again.

REVIEW: John Scofield's A Moment's Peace

IMN

July 21st, 2011

from Guitar International

Album Review: John Scofield – A Moment’s Peace
By Vince Lewis

John Scofield is a fellow guitarist whose recordings I am always pleased to see hit my mailbox for review. His albums are always interesting and varied musically. There is no doubt that Scofield not only enjoys many genres, and he is more than capable of proving quality music in them as well.

John Scofield’s guitar work has influenced jazz since the late 70’s. He has a very distinctive sound, which combines a slightly overdriven and edgy tone with more conventional phrasing. He is a player whose music generally falls somewhere between post-bop, funk edged jazz, and R & B.

He attended Berklee College of Music in Boston, and after a debut recording with Gerry Mulligan and Chet Baker, Scofield was a member of the Billy Cobham-George Duke band for two years. In 1977 he recorded with Charles Mingus, and joined the Gary Burton quartet. He began his international career as a bandleader and recording artist in 1978. From 1982-1985, Scofield toured and recorded with Miles Davis.

Read the full review here

John Scofield shows blues background

IMN

December 16th, 2010

from Times Union

Jazz guitar great John Scofield shows blues background

Among the most highly regarded of today’s jazz guitarists, John Scofield doesn’t think that much about styles and genres. He’s a guitar player, and a great one. As such, he’s had the chance to perform and record with many of his jazz heroes, like Joe Henderson, Gerry Mulligan and Herbie Hancock.

But Scofield, 58, came out of the blues. A stint in the 1980s with Miles Davis thrust him into the public eye, but that band was playing music with strong funk, rock and pop overtones. He can also be found playing groove-oriented music, or doing the jam-band thing with bands like Medeski, Martin and Wood. He even did a Ray Charles tribute album (“That’s What I Say: John Scofield Plays the Music of Ray Charles,” Verve, 2005).

He just loves music and knows how to put his well-known, personal guitar style into any setting.

His latest recording, released in late August, is “54” (Emarcy), recorded in the Netherlands with the Metropole Orchestra, that puts the guitarist as a soloist over a 54-piece orchestra of brass, woodwinds and strings. Arrangements are by Vince Mendoza, the multiple Grammy winner who has worked with people like trumpeter Randy Brecker, the late keyboardist Joe Zawinul and singers Joni Mitchell and Bjork.

However, when the John Scofield quartet takes the stage at the Port of Albany’s Riverfront Jazz Festival (about 6:15 p.m.), jazz will be the order of the day, as will his dazzling chops and biting sound and angular improvisations.

“We’ll be playing some bebop, some (jazz) standards, some originals from my past albums. It’ll be pretty much jazz,” said Scofield recently from his New York City home, on a brief break from a busy year of touring with a variety of groups — his own and others. “Maybe some jazz groove tunes. Maybe some new ones.”

The quartet consists of Michael Eckroth, a relatively new discovery of Scofield’s, on piano; Ben Street on bass and Matt Wilson on drums. Street and Wilson also lead their own bands. Wilson, in particular, shares Scofield’s wide-ranging tastes, having played straight-ahead jazz with the masters, free jazz with the likes of Ornette Coleman and Dewey Redman, and even merged his own quartet with a string quartet at the CareFusion Newport Jazz Festival last month.

No matter what the setting, Scofield’s immediately identifiable sound demands attention. It comes out of blues artists like Freddie, Albert and B.B. King, and jazz greats like Jim Hall, Wes Montgomery, George Benson and Pat Martino. “I also listened to horn players a lot,” he said. “I would pick up things from that and bring it to the guitar. … Really it was when I realized I couldn’t play like (his idols), that I just played what I knew and what I had in me, to make the music sound good and be myself at the same time.”

Now, “when I do funk gigs, I bring more jazz to it than others do. When I play jazz, I think I bring a more funk and blues thing than most. When I play groove music, all those elements are there.”

Read the full article :here”:http://www.timesunion.com/entertainment/article/Jazz-guitar-great-John-Scofield-shows-blues-649684.php

John Scofield's "I'll Fly Away" NPR's song of the day

IMN

May 11th, 2009

From NPR.org
Guitarist John Scofield has given birth to a new musical genre: country-gospel-jazz. (Maybe call it “co-go-ja” for short?) As proof, just listen to his reinvention of the 1929 Christian classic “I’ll Fly Away.” He and his bandmates start out with a chugging country backdrop straight from the Grand Ole Opry, but his interpretation of the melody is pure jazz. The mellow flavor of Wes Montgomery lives on in Scofield’s gentle, effortless runs, which soar, dip and then rise again like the song’s heavenbound protagonist.

Two-thirds of the way through, bandmate Jon Cleary chimes in to sing the familiar tale of leaving “prison walls” on a flight to “God’s celestial shore.” Cleary is a British vocalist and pianist who sounds more like an old-time New Orleans church musician than a U.K. gent. His warm yet weary voice complements but never overwhelms Scofield’s virtuosity. Together, they prove that Scofield wasn’t playing around when he called his new CD Piety Street.

John Scofield's Piety Street is released today

IMN

March 31st, 2009

John Scofield’s latest album, Piety Street featuring Jon Cleary, George Porter Jr., Ricky Fataar, Shannon Powell, and John Boutt comes out today on Emarcy Records. Click here to get more info, stream clips from the album, and watch a documentary on the inspiration and making of the record.

It is a rare artist that can explore more than one kind of music with true fluency, virtuosity and sincerity. Guitarist John Scofield can, and he’s proven it once again with Piety Street – a powerful collection of Gospel renditions.

Born in Ohio 26 December 1951 and raised in Connecticut, Scofield took up the guitar at age 11, inspired by both rock and blues players. An early introduction to jazz guitar records sparked a lifelong love of jazz. Scofield attended the Berklee College of Music. In 1973, he moved into public eye with a wide variety of bandleaders and musicians including Charles Mingus, Herbie Hancock, Chick Corea, Joe Henderson, Billy Cobham/George Duke, Gerry Mulligan, McCoy Tyner, Jim Hall, and Gary Burton. His first recording as a leader 1977 established him as an influential and innovative player and composer.

In 1982, he began a three-and-a-half-year stint touring with Miles Davis. Scofield’s compositions and guitar work appear on three of Davis’ albums. Throughout his ecclectic career, Scofield has punctuated his many traditional jazz offerings with funk-oriented electric music. His recordings-several already classics-include collaborations with contemporary favorites like Pat Metheny, Medeski, Martin & Wood, Bill Frisell, Government Mule, and Phil Lesh.

With the release of Piety Street, Scofield takes his music to a new place. “I’m just shifting the balances for this one,” he says. I’ve always wanted to record and tour a blues project. That’s where I started as a guitarist and I’m feeling that music more than ever of late. I launched a personal search for musical inspiration beyond the standard 12 bar blues and found it in “old time gospel” music – the closest relative to and inspiration for the R& B that we all love. I’ve always treasured Gospel but never really dug deep into it. My search led to countless songs that really move me. It’s really powerful stuff. Of course, it will be Gospel done my way – all the arrangements are mine. “

Scofield on The Tonight Show - Wed. 6/15!!!

IMN

June 8th, 2005

Sco featuring John Mayer on Leno!

Wednesday, June 15, John Scofield, John Mayer, Steve Jordan and Willie Weeks will be the musical guests on the Tonight Show with Jay Leno, performing “I Don’t Need No Doctor” from John’s latest release “Thats What I Say – John Scofield Plays the Music of Ray Charles”.

For more information – please check your local listings.

“Thats What I Say” released on June 7th (Verve) has been being played on a number of different radio stations in different formats (#1 on Jazz Radio, #1 CMJ Jazz Chart)across the country – solidifying one of the strongest cross over hits to date for Sco.

Confirmed Tourdates As Of

IMN

May 24th, 2012: Kuumbwa Jazz Center Santa Cruz, CA USA [Joshua Redman, with Aaron Parks, Matt Redman & Eric Harland]
August 9th, 2012: Adelaide International Guitar Festival Adelaide, Australia [The John Scofield Trio]
September 14th, 2012: Yoshis Oakland, CA USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 15th, 2012: Yoshis Oakland, CA USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 16th, 2012: Yoshis Oakland, CA USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 17th, 2012: Kuumbwa Jazz Center Santa Cruz, CA USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 20th, 2012: Regattabar Cambridge, MA USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 21st, 2012: Regattabar Cambridge, MA USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 24th, 2012: Jazz Kitchen Indianapolis , IN USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 25th, 2012: Jazz Kitchen Indianapolis , IN USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 26th, 2012: Evanston SPACE Evanston, IL USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 27th, 2012: Evanston SPACE Evanston, IL USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 28th, 2012: Jazz At The Bistro St. Louis, MO USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 29th, 2012: Jazz At The Bistro St. Louis, MO USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
September 30th, 2012: Dakota Jazz Club Minneapolis, MN USA [John Scofield Trio featuring Steve Swallow and Bill Stewart]
October 2nd, 2012: Blue Note New York, NY USA [The John Scofield Trio Featuring Steve Swallow and Bill Stewart]
October 3rd, 2012: Blue Note New York, NY USA [The John Scofield Trio Featuring Steve Swallow and Bill Stewart]
October 4th, 2012: Blue Note New York, NY USA [The John Scofield Trio Featuring Steve Swallow and Bill Stewart]
October 5th, 2012: Blue Note New York, NY USA [The John Scofield Trio Featuring Steve Swallow and Bill Stewart]
October 6th, 2012: Blue Note New York, NY USA [The John Scofield Trio Featuring Steve Swallow and Bill Stewart]
October 7th, 2012: Blue Note New York, NY USA [The John Scofield Trio Featuring Steve Swallow and Bill Stewart]
October 10th, 2012: The Blue Note Yokyo Tokyo, Japan [John Scofield Trio featuring Steve Swallow and Bill Stewart]
October 11th, 2012: The Blue Note Yokyo Tokyo, Japan [John Scofield Trio featuring Steve Swallow and Bill Stewart]
October 12th, 2012: The Blue Note Yokyo Tokyo, Japan [John Scofield Trio featuring Steve Swallow and Bill Stewart]
October 13th, 2012: The Blue Note Yokyo Tokyo, Japan [John Scofield Trio featuring Steve Swallow and Bill Stewart]