(JazzPlanet) John Scofield and Metropole Orkest - 54 (Eac Flac Cue)(UF)

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  • Book p04-01.jpg (7.4 MB)
  • CD.jpg (5.0 MB)
  • Back.jpg (4.3 MB)
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  • 05 - John Scofield & Metropole Orkest [cond. Vince Mendoza] - Twang .flac (60.3 MB)
  • 01 - John Scofield & Metropole Orkest [cond. Vince Mendoza] - Carlos .flac (57.4 MB)
  • 07 - John Scofield & Metropole Orkest [cond. Vince Mendoza] - Peculiar .flac (49.4 MB)
  • 02 - John Scofield & Metropole Orkest [cond. Vince Mendoza] - Jung Parade .flac (49.1 MB)
  • 08 - John Scofield & Metropole Orkest [cond. Vince Mendoza] - Say We Did .flac (45.8 MB)
  • 03 - John Scofield & Metropole Orkest [cond. Vince Mendoza] - Polo Towers .flac (41.9 MB)
  • 06 - John Scofield & Metropole Orkest [cond. Vince Mendoza] - Imaginary Time .flac (38.4 MB)
  • 09 - John Scofield & Metropole Orkest [cond. Vince Mendoza] - Out Of The City .flac (35.7 MB)
  • 04 - John Scofield & Metropole Orkest [cond. Vince Mendoza] - Honest I Do .flac (23.5 MB)
  • info.txt (11.1 KB)
  • info ita.txt (8.4 KB)
  • John Scofield & Metropole Orkest [cond. Vince Mendoza] - 54.log (4.5 KB)
  • 54 flac.cue (2.2 KB)
  • 54.cue (2.2 KB)
  • John Scofield & Metropole Orkest [cond. Vince Mendoza] - 54.m3u (1.4 KB)


John Scofield and Metropole Orkest - 54

Artist: John Scofield Metropole Orkest Vince Mendoza
Title: 54
Label Emarcy
Orig Year 2010
Discs 1
Release Date Aug 24, 2010
Producer Vince Mendoza
Genre Jazz
Styles Contemporary/Jazz Jazz/Fusion Guitar/Jazz
Source: Original CD

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Single File.flac, Eac.log,
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Accurately ripped (confidence 3)
Size Torrent: 424 Mb
Scans Included


1. Carlos
2. Jung Parade
3. Polo Towers
4. Honest I Do
5. Twang
6. Imaginary Time
7. Peculiar
8. Say We Did
9. Out Of The City

Personnel: John Scofield: guitar; Vince Mendoza: conductor, arranger (1-5, 7, 8); Florian Ross: arranger (6); Jim McNeely: arranger (8); Arlia de Ruiter: first violin; Alida Schat: first violin; Denis Koenders: first violin; Erica Korthals Altes: first violin; David Peijinborgh: first violin; Pauline Terlouw: first violin; Feyona van Iersel: first violin;Seija Teeuwen: first violin; Merjin Robout: second violin; Herman can Haaren: second violin; Lucja Domski: second violin; Wim Kok: second violin; Elizabeth Liefkes-Cats: second violin; Marianne van den Heuvel: second violin; Vera van der Bie: second violin; Mieke Honingh: viola; Norman Jansen: viola; Julia Jowett: viola; Iris Schut: viola; Isabella Petersen: viola; Bastiaan van der Werf: cello; Emile Visser: cello; Annie Tangberg: cello; Jacsha Albracht: cello; Erik Winkelmann: contrabass; Arend Liefkes: contrabass; Tjerk de Vos: contrabass; Jelle Schouten: trumpet; Erik Veldkamp: trumpet; Jan Hollander: trumpet; Ruud Breuls: trumpet; Bart van Lier: trombone; Jan Oosting: trombone; Jan Bastiani: trombone; Martin van den Berg: bass trombone; Janine Abbas: flute; Mariël van den Bos: flute; Willem Luijt: oboe; Pieter Hunfeld: French horn; Marc Sholten: saxophone, clarinet; Paul van der Feen: saxophone, clarinet; Leo Janssen: saxophone, clarinet; Jos Beeren: saxophone, clarinet; Max Boeree: saxophone, clarinet; Joke Schonewille: harp; Hans Vromans: piano, Hammond organ; Peter Tiehuis: guitar; Aram Kersbergen: bass; Martjin Vink: drums; Eddy Koopman: percussion; Murk Jiskoot: percussion.

Listen to Samples






This tremendous return to the too-little respected and too-infrequently recorded form of music known as orchestral jazz gets its title by the number of musicians - who total 52 – that participated in the studio recording plus the two leaders, guitarist and composer John Scofield and composer, arranger and conductor Vince Mendoza. Bravo to the leaders for giving credit to all the musicians involved here.

If anyone can make this splendidly contemporary trip down old paths captivating or memorable, it is certainly Vince Mendoza, who aside from such excellent work on his own recent discs, El Viento (ACT, 2009 – also with the Metropole Orchestra) and Blauklang (ACT, 2008), has also scored memorably wonderful recent recordings with Elvis Costello, Joni Mitchell, Joe Zawinul, Bjork, Kyle Eastwood and Randy Brecker.

And if anyone in the current jazz sphere of soloists can make you stand up and take notice, it is certainly guitarist John Scofield.

While the program under review offers up no new material, it is certainly a stirring set that was worth the effort. This March 2009 recording finds John Scofield revisiting his own “Honest I Do” and “Twang” (both heard first on the 1992 CD Grace Under Pressure), “Imaginary Time” (first appearing on the 1993 CD What We Do), “Out of the City” (originally on the 1994 CD Hand Jive), “Carlos” and “Peculiar” (both originally heard on the 1998 Blue Note CD Groove Elation), and “Polo Towers” (first heard on the 2001 Verve CD Uberjam).

Vince Mendoza rescores his own “Jung Parade” and “Say We Did,” both of which were first heard on the 1991 Japanese-only CD Instructions Inside, which also featured John Scofield as a soloist (the two leaders were first recorded together on Vince Mendoza’s 1989 album Start Here).

Mendoza arranges the bulk of the material, while keyboardist Florian Ross arranges “Imaginary Time” and keyboardist Jim McNeely is listed as arranger of two tracks (despite one of the credited tracks not existing on the CD).

On the whole, both Scofield and Mendoza are exceptionally imaginative – and not necessarily at the same time. It’s as if neither wants to get in the other’s way. Mendoza’s orchestrations often shine when Scofield’s soloing is merely up to par. Take, for example, the superbly colorful “Carlos,” the brassy second half of “Twang,” the brilliantly Ellington-esque way Mendoza handles “Peculiar” (which elicits a particularly funky un-Ellington guitar solo from Scofield, worth further investigation, and Hans Vroomans’ inspired organ solo).

And vice versa. Scofield himself shines superbly throughout, but never as exceptionally as on “Jung Parade” and the first half of “Twang.”

The two collide terrifically in their collaboration on the near Blaxploitation groove of “Polo Towers,” the glitzy near Mancini-esque sheen of “Out of the City,” the lush, gorgeous and too-jagged-to-be-a-soundtrack-cue, “Honest I Do,” the superbly imaginative, yet too brief “Imaginary Time” and the delicious collaboration - dominated by Mendoza’s lovely charts - that is “Say We Did.”

Mendoza has always been particularly adept at beautifully coordinating acoustic and electric elements. And Scofield’s often funky fusion tendencies allow the arranger to provide several colorful scores that recall some of the best work of such under-sung 70s arrangers as Johnny Pate, J.J. Johnson, David Matthews, Gene Page and David Van DePitte. But there is also a great sense of the historic work such 60s background soundscapers as Oliver Nelson, Lalo Schifrin or Gary McFarland crafted in their day.

Like partners in crime, John Scofield and Vince Mendoza paired together makes a great deal of sense. These are artistic temperaments that are well-suited to one another. Unlike the exceptionally enjoyable partnership Scofield forged with Marc-Anthony Turnage on the 2003 disc Scorched (Deutsche Grammophon), there is a chemistry on 54 that works not only as a fun listen but also as an accomplished and solidified piece of contemporary orchestral jazz. One can only hope there is a lot more of this in store.

Very highly recommended.


Guitarist John Scofield's shared history with Vince Mendoza dates back to the composer/arranger/conductor's Start Here (World Pacific, 1990) and Instructions Inside (EMI/Manhattan, 1991)—two criminally out of print gems that provided early evidence of Mendoza's distinctive harmonic language, compositional perspicacity and innate ability to get the best out of an ensemble, regardless of the size. Now an in-demand, Grammy Award-winning producer/arranger who has worked with everyone from trumpeter Randy Brecker and the late keyboardist Joe Zawinul to singers Joni Mitchell and Björk, it was really only a matter of time before Mendoza and Scofield would reunite, this time sharing the marquee with Holland's Metropole Orkest.

But 54 goes beyond simply ratcheting up the sonic palette and expanding on material from both artists' past repertoires. With strings, brass, horns, woodwinds and rhythm section, Metropole has proven itself one of the most pliant large ensembles on the planet through past collaborations with Mendoza (since 2005, the Orkest's Chief Conductor and Artistic Director) including his own El Viento: The Garcia Lorca Project (ACT, 2009) and keyboardist Jim Beard's Revolutions (Intuition, 2008), and brings all the color of a full-scale orchestra to the table, but with players who are also equally and intimately familiar with the language and liberation of jazz.

Which is a good thing, as a number of Metropole's members are featured alongside primary soloist Scofield on tracks like the groove-laden "Carlos," first heard on the guitarist's soulful Groove Elation (Blue Note, 1005), but here re-imagined with the kind sophisticated harmony and sweeping counterpoint that speak to Mendoza's distinct language—a vernacular that has posited him as heir apparent to the late arranger Gil Evans' mantle. Mendoza's acumen is especially evident on tracks like the funk-driven "Polo Towers," from Scofield's jamband-centric Überjam (Verve, 2002). Originally little more than a sketch of a tune meant to provide a context for extended soloing, here Mendoza's arrangement still leaves plenty of space for the guitarist's gritty, blues-centric approach—as ever, perfectly straddling the line between the "out" and the "in," creating cascading levels of tension-and-release—but turns it into a more full-fledged composition.

In many ways, Mendoza and Metropole have their work cut out; after all, Scofield's albums typically function in a single space, whether it's the soul-jazz of Hand Jive (Blue Note, 1994), from which the swinging "Out of the City" is culled and given a brighter, horn-heavy arrangement by guest arranger Jim McNeely, or the balladic "Honest I Do" and New Orleans Second Line of "Twang," both from Scofield's collaboration with guitarist Bill Frisell, Grace Under Pressure (Blue Note, 1993). Here, however, Metropole has to cover it all, and cover it all they do. Drummer Martjin Vink, bassist Aram Kerdbergen and keyboardist Hans Vroomans make for a versatile and potent rhythm section. Vroomans also has no trouble keeping up with Scofield, delivering a suitably greasy Hammond organ solo over the descending pattern of Scofield's "Peculiar," first heard on Groove Elation (Blue Note, 1995) and here featuring the guitarist wailing with reckless abandon and a visceral envelope filter.

Scofield's material dominates the set, but 54 also puts even more modernistic touches on two Mendoza's tracks from Instructions Inside. Without the programming of the original, and a larger orchestra with which to work, Mendoza turns the already sweeping "Jung Parade" into an even more expansive piece, while "Say We Did" demonstrates the composer's deeper lyricism, and an ability to use an orchestra to its fullest advantage without ever resorting to stereotypical and saccharine devices.

Combining Mendoza's stunning arrangements and some of Scofield's best playing in years, 54 is a milestone in both artists' discographies. Mendoza shows that any material—even the barest of sketches—is grist for his pen, while Scofield demonstrates that, no matter what the context, his voice remains assured and unmistakable. More importantly, both artists transcend individual skill to create an hour-long whole that truly exceeds the sum of its many compelling parts.

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(JazzPlanet) John Scofield and Metropole Orkest - 54 (Eac Flac Cue)(UF)


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(JazzPlanet) John Scofield and Metropole Orkest - 54 (Eac Flac Cue)(UF)

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