(JazzPlanet) John Scofield Pat Metheny - I Can See Your House From Here(Eac Flac Cue)(UF)(TNT)

John Scofield - Pat Metheny - I Can See Your House From Here

Artist John Scofield - Pat Metheny

Album I Can See Your House From Here

Number of CD: 1

Label Blue Note

Orig Year 1993

Release Date Apr 05, 1994

Genre: Jazz

Styles: Crossover Jazz, Post-Bop, Contemporary Jazz

Source: Original CD

Size Torrent: 419 Mb

Cover Included





Extractor: EAC 0.99 prebeta 4

Read mode : Secure

Utilize accurate stream : Yes

Defeat audio cache : Yes

Make use of C2 pointers : No

Codec: Flac 1.2.1; Level 8

Single File.flac, Eac.log,

File.cue Multiple wav file with Gaps (Noncompliant)

Accurately ripped (confidence 83 )





Track list



1. I Can See Your House From Here

2. Red One, The

3. No Matter What

4. Everybody's Party

5. Message To My Friend

6. No Way Jose

7. Say The Brother's Name

8. S.C.O.

9. Quiet Rising

10. One Way To Be

11. You Speak My Language









Personnel:



John Scofield (electric & steel-string acoustic guitars);

Pat Metheny (electric & nylon-string acoustic guitars, guitar synthesizer);

Steve Swallow (acoustic & electric basses);

Bill Stewart (drums).





Listen to sample

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bio scofield



One of the "big three" of current jazz guitarists (along with Pat Metheny and Bill Frisell), John Scofield's influence grew in the '90s. Possessor of a very distinctive rock-oriented sound that is often a bit distorted, Scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, fusion, and soul jazz. He started on guitar while at high school in Connecticut, and from 1970-1973 Scofield studied at Berklee and played in the Boston area. After recording with Gerry Mulligan and Chet Baker at Carnegie Hall, Scofield was a member of the Billy Cobham-George Duke band for two years. In 1977 he recorded with Charles Mingus, and later joined the Gary Burton quartet and Dave Liebman's quintet. His own early sessions as a leader were funk-oriented. During 1982-1985 Scofield toured the world and recorded with Miles Davis. Since that time he has led his own groups, played with Bass Desires, and recorded frequently as a leader for Gramavision and Blue Note, using such major players as Charlie Haden, Jack DeJohnette, Joe Lovano, and Eddie Harris.



Scofield started a long-term relationship with the Verve label in 1996 with his acoustic album Quiet. He cut the funky A Go Go with Medeski, Martin & Wood in 1997 while 2000's Bump featured members of Sex Mob, Soul Coughing, and Deep Banana Blackout. 2001's Works for Me featured a more traditional jazz sound, but for 2002's Uberjam and 2003's Up All Night, he was back to playing fusion. Drummer Bill Stewart and bassist Steve Swallow rounded out the John Scofield Trio for 2004's cerebral and complex live album EnRoute. In 2005, Scofield paid tribute to legendary soul man Ray Charles with That's What I Say.



bio metheny



One of the most original guitarists from the '80s onward (he is instantly recognizable), Pat Metheny is a chance-taking player who has gained great popularity but also taken some wild left turns. His records with the Pat Metheny Group are difficult to describe (folk-jazz? mood music?) but managed to be both accessible and original, stretching the boundaries of jazz and making Metheny famous enough so he could perform whatever type of music he wants without losing his audience.



Metheny (whose older brother is the trumpeter Mike Metheny) started on guitar when he was 13. He developed quickly, taught at both the University of Miami and Berklee while he was a teenager, and made his recording debut with Paul Bley and Jaco Pastorius in 1974. He spent an important period (1974-1977) with Gary Burton's group, met keyboardist Lyle Mays, and in 1978 formed his group, which originally featured Mays, bassist Mark Egan, and drummer Dan Gottlieb. Within a short period he was ECM's top artist and one of the most popular of all jazzmen, selling out stadiums. Metheny mostly avoided playing predictable music, and his freelance projects were always quite interesting. His 1980 album 80/81 featured Dewey Redman and Mike Brecker in a post-bop quintet; he teamed up with Charlie Haden and Billy Higgins on a trio date in 1983; and two years later recorded the very outside Song X with Ornette Coleman. Metheny's other projects away from the group have included a sideman recording with Sonny Rollins; a 1990 tour with Herbie Hancock in a quartet; a trio album with Dave Holland and Roy Haynes; and a collaboration (and tour) with Joshua Redman.



Although many regarded his 1994 recording Zero Tolerance for Silence as largely a waste (40 minutes of feedback), Metheny retained his popularity and remained a consistently creative performer. In addition to recording for ECM, he has appeared as a leader on the Geffen, Warner Bros., and Nonesuch labels. Metheny has remained active in the 21st century, releasing Speaking of Now in 2002, the solo One Quiet Night in 2003, Way Up in 2005, and Metheny Mehldau in 2006. Metheny and pianist Brad Mehldau returned to the studio the following year for Quartet. Metheny released the trio album Day Trip in 2008. Orchestrions, which featured a solo Metheny playing several acoustic instruments designed and built for him by Eric Singer, appeared from Nonesuch early in 2010.





review





Superstar jazz recording sessions generally proceed with an abundance of ego and good intentions--yet rarely if ever is the sum equal to its parts. There's simply no substitute for empathy and forethought.



Or the mutual respect these master stylists display on I CAN SEE YOUR HOUSE FROM HERE. Scofield and Metheny represent two distinct takes on modern jazz and the electric guitar. Both come directly out of Jim Hall, the poet laureate of jazz guitar. Metheny's romantic "Say The Brother's Name" and "Quiet Rising," and Scofield's after hours blues "You Speak My Language" provide ardent settings for both guitarists to pay homage to their primary influence with suede, legato phrasings and supple harmonies.



But where Metheny's muse (and his immensely popular band) often tends toward rich layered harmonies and percolating Brazilian rhythms, Scofield is a hard blues, hard bop player, with more than a little touch of funk in his tone. Where Metheny flows, Scofield sort of barks and bites into his lines, as reflected by such ardent, jagged themes as "One Way To Be" and "No Way Jose."



Yet for all the stylistic differences, the sum of their collaboration is such that casual listeners might find it difficult to tell who's who. Scofield and Metheny touch on all sorts of dancing instrumental moods, leavened by modern jazz, flavored by rock, blues and Latin America, driven in style by bass guitarist Steve Swallow and drummer Bill Stewart. Beautifully recorded, I CAN SEE YOUR HOUSE FROM HERE is an authentic musical communion.