As John Scofield’s career has evolved, he has turned into almost as much of a musicologist as a musician. The transformation has occurred, however, without slighting the latter most and significant role: “Sco” remains one of contemporary jazz’s most distinctive guitar players.
His instantly recognizable style—staccato yet fluid as he integrates the touch and tone of both blues and jazz—appears on his own recordings and on stage with his own aggregations, but also in somewhat unlikely company. John Scofield is nothing if not open-minded, so it’s no more of a surprise to hear him playing with Phil Lesh and Friends than the visionaries of nouveau jazz Medeski Martin and Wood or as part of a trio with Steve Swallow and Jack DeJohnette.
These collaborations intermingle with original projects such as the 2005 tribute to Ray Charles, That’s What I Say; Scofield’s adventure into composition and arrangement This Meets That and now his New Orleans- based expedition into the realm of blues and gospel Piety Street.

With THE SOUND OF SUMMER RUNNING, bassist Marc Johnson has assembled a landmark quartet of such magnitude as to rival his legendary Bass Desires group of the mid '80s. Returning from that group is crafty guitar pioneer Bill Frisell. The two new additions are contemporary jazz guitar master Pat Metheny and the always adventurous percussionist Joey Baron. This list of musicians constitutes a "dream band" if there everwas one. Metheny and Frisell are locked in a beautiful dance as their signature sounds bob and weave around Johnson's deep foundation. Baron's stark percussive stabs and shimmering colours add just the right turmoil to the mix.
The music is nothing short of mesmerising in it's exploration of tonal colours and depth of creativity. The breezy freshness of "Faith In You" sets the tone, as the two guitarists alternately fly and support each other. A myriad of directions are explored from here: western-flavoured folk ("Ghost Town", "With My Boots On"), a bluesy Chicago shuffle ("Union Pacific"), a sleepy mid-western groove ("Porch Swing") and colourful avant-garde explorations ("The Adventures Of Max And Ben"). Fans of Metheny's ECM days will enjoy the soaring "Summer Running". All of this with the quirky slant you would expect from this cast of magical sound-smiths.

This album shows the versatility of Peter Erskine at its best: beautiful varied compositions (highlights being Corazon and King Richard II Suite) with an inspired cast of well-known musicians like Joe Lovano, Bob Mintzer, Marc Johnson and Kenny Werner. Moreover the masterful material is recorded with an unbelievable clarity of sound. One of, if not THE best solo effort of Peter Erskine and a recording that stands tall in the incredible discography of Peter Erskine.

The stunning vocal presence and emotional range of his new CD, Because Of You, catapults Kenny Rankin to the forefront of American male vocalists. While he assumed great celebrity for his breakthrough pop release of the 1970's, the sophisticated and intimate approach he takes with his interpretations of classic American standards by Gershwin, Berlin, Rodgers & Hart, Monk, as well as his own original compositions, will re-introduce him as a brilliant innovator in the elevation of pop music.

This cd was recorded live (no overdubs) during the Nautilus Tour 2002 at Erlangen, Germany, June 15th, 2002. It is by far the best live recording of Sara K. to date. Featuring Guitar player extraordinaire Chris Jones.
"Let’s be honest, live albums are often bland, the songs faded versions of opulent studio-productions. This one is different. The songwriter from Texas and her sideman grow together during the concert into groove-monsters. Her 4-string guitar and his steel-string/dobro drive songs like 'All Your Love (turned to passion)' irresistibly onward and Sara growls, squeaks and squeals with a truly high-end sound. Huge."
- CD-Tipps, RTL II-TEXT, 17.06.03

Since Ella Fitzgerald never produced a songbook of Leonard Cohen songs, Jennifer Warnes's plush 1986 tribute is the next best thing. The sleekly seductive "First We Take Manhattan" is gilded by the guitars of Stevie Ray Vaughan and Robben Ford. Warnes doesn't add much to an evergreen like "Bird on a Wire," but she lays claim to the noirish title song with a confidential vocal that complements the chamber-pop arrangement. "Song of Bernadette" is a ripened gem, and the selection where Warnes lets down her refined vocal technique to reveal deep emotions. More often, Warnes is as professionally accomplished on this well-chosen set as her band of studio pros. –John Milward