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"Sco - World's greatest guitarist?" 2003-12-10
By Jan P. Dennis (Monument, CO USA)
I approached this disc with a wee bit of trepidation. I didn't want just some old jazz master's hard-bop/post-bop reading of standards. And with the first cut, that's what I thought I was in for. But from Soc's first notes on the second offering, "That Old Feeling," we're in some kind of ur-jazz guitar territory. How does he do it? Here, he sticks to traditional solid-body sound (from a mere sonic standpoint, it could be anyone from Herb Ellis to Barney Kessel to Jimmy Bruno to Bruce Forman), but there's some impossibly deep Sco signature thing happening here that lifts the proceedings out of mere boppish territory into the precincts of pure guitar felicity.
If anyone needed confirmation of Sco's absolute guitar mastery, he need only listen to his amazing playing on Coltrane's brilliant composition, "Afro Blue," where he manages to be both thoroughly blue and thoroughly Afro at the same time. This may be--no, undoubtedly is--Sco's most profound extended guitar statement on disc, as well as one of the greatest guitar performances ever captured--scorching single-note runs, way hip chord voicings, sheer sinuousity throughout. It doesn't hurt to have Dave Holland spinning out a great bass solo, and an inspired Haynes quietly going crazy on his kit. But make no mistake, this is Sco's show. He's in some kind of rhythmic/chord voicing/single-note-run zone. Check out his quickie outro for confirmation.
The next number, "Que Pasa," continues the incredible Afro-Latin vibe and features Joshua Redmond's finest playing on disc. He seems to feed off the excitement laid down by Kenny Barron on piano and Christian McBride on bass. Haynes, by now an old guy, dazzles on drums.
Amazingly, each of these high-powered artists, some of the most heavy weight and important on the jazz scene today, seems completely ready and willing to give it up for Roy Haynes. Once they settle into the fabulous groove staked out by Sco on the second number, everything locks into place.
I've stated elsewhere that I've had it up to here with stale post-bop sessions. And that's why I waited so long to pick this one up--I was scared that that's what I'd be getting. But no. What we have here, instead--and gloriously--is magical transformation of standards into postmodern, entirely hip, fascinating jazz. Set aside all reseverations and pick up on this breathtaking set.
"Very well recorded, produced, and just look at the line-up!" 2003-07-14
By T. Klaase (Orange Park, Florida United States)
The first time I heard Roy Haynes was on Pat Metheny's "Question and Answer" CD and I was transfixed by the sound and style of the drums. Haynes really knows how to tune and record his set - and his new album is no disappointment. The sound quality is stellar and the standards are executed wonderfully by an all star line-up. Redman's blistering sax on the very first track is just mind-numbing. Scofield has been excellent on all of his latest efforts, Scolohofo, Up all Night, and now this! Dave Holland and McBride are loud in the mix and on the money the whole time. This is one of those recordings that's easier and easier to listen too. ...and Roy's drum sound - stop the press and get into the moment!
"interesting set of standards" 2003-05-30
By Rob Watkins (Augusta, Georgia United States)
mr. haynes continues to be a part of jazz's elder statesmen making tremendous performances of late (see also max roach/clark terry's "friendship" or keith jarrett's "up for it.")this collection of standards recorded by the japanese 88 label and picked up by columbia is a superb album. the ensemble swings with abandon and finds new twists and turns in very familiar tunes. mr. haynes leads the charge laying down a consistent groove on drums. he shows again and again how these songs are love letters, not only in their own content, but in the message the band conveys to the listener. this is well worth having.
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