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Release Date January 15, 2002
Boy,those young guys could play...Their bassist is incredible,but all band members are worth the listening experience.Considered as pioneers of the acid-jazz scene in London,they were far ahead of the rest & this compilation remains an indispensable testimonial of how good black music can be,even when played by young white Brits.
Do yourself a favor,get the cd,crank up the volume & get your kicks!
John Patitucci shines with refulgent brightness in this album that would seem to be inspired in retrospective mood. The memories of John Coltrane, Ornette Coleman or Charles Mingus are suggested and underlined. Since his fabulous rapport with Chick Corea, his progresses and goals have experimented an exponential increase.
In this sense this CD is a febrile renovation, a smart reinvention of idiomatic scents of classic Jazz, expressed with freshness and sumptuous musicality.
Excellent and distinction are the essential features thatcharacterize this album.
Release Date February 20, 1996
A bass virtuoso of the highest degree creates a stunning record UNRIVALLED IN POWER AND SKILLS.If you are a bass musician then dont feel dissapointed VICTOR is here to teach you .PROPABLY HE WOULD BE THE BEST BASS PLAYER IN THE WORLD IF MARCUS MILLER WAS NOT BORN .
Release Date February 18, 1997
I had high hopes. I always do. I don't have any other albums by anybody in the band, so I had nothing to compare it to. The band members all hold their own very nicely. There are some very good fusion tunes on here, but nothing very memorable. I was waiting for someone to just start tearing up the place, and it did happen in a few spots for a brief time, but not as often as I had hoped. I agree with the previous review concerning their live show. I bet they would be hot hot hot live. It seems like they were held back a bit in the studio, and live, they could potentially give Niacin a run for their money. But, if you're looking for the b-3 groove, and you want your booty to move, pick up Niacin, High Bias. You can't go wrong with Dennis ... Read More:
Release Date September 26, 2000
With the success of A Go Go and Bump, I guess this isn't surprising. This album is a collection of some of his funkier tracks from the late 80s and early to mid 90s. As these things go it's not bad, but the original albums are still in print and are better. If you want a good dose of the funky Sco, you're better off getting "Hand Jive" and "Groove Elation", which account for 7 of the 11 tracks included here. The other 4 tracks lean more towards his fusion/bop style.
Release Date February 26, 2002
This CD is full of fresh vibes. I have enjoyed to couple of times I have listened to it. Its good jazz fusion if you like that type of music. If not you might get by the fact that the drums are the main instrument, but has good horns and guitars backing him.
Release Date May 19, 1998
Who says a big band can't work? These cats run the gamut of funk and groove (even a spot of jungle crops up in there, but it's not very strong) and most of its good. There are some so-so spots, but there's enough very good tracks on it ("Sending", "Anna Christina", "St Gallen" and "Floating") to justify the purchase.
It's also a great road record. I know...I drove 4 hours with it between here and Detroit, and it was lots of fun. I had to skip over bad tracks like "Hey" and "Bionic", but it's a cool chill-out CD.
Release Date February 07, 2005
I will never understand why John Scofield's earliest works from the mid-to late 70s, up to about 1981 (beginning with his self-titled debut album in 1977) were not given the attention they deserved at the time of their release, and still are not given a great deal of attention. The central reason why I don't understand this is because no one had ever improvised on the guitar remotely like this prior to his recording of these albums. No other guitar player at this stage truly had a fluency with, or an approach to harmonic concepts comparable to that of a horn or piano player (listen to the Coltrane-ish bridge of track 3, "Ailleron"). By this stage, Scofield had already created a very individual approach to improvising. However, it was not until about halfway ... Read More:
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