Turnage does a superb job of finding a new identity for Scofield's compositions. The performances and the recordings have great colour and impact and altogether it's a really interesting insight in the way Turnage thinks about Jazz and his own music.
CD of the Week
If anyone from the contemporary classical side of the fence can adapt to the sinuous rhythms and apparent looseness of jazz it's Turnage, who has always worn his I Love Miles badge with pride. And if anyone can adapt to a new situation, whether a greasy and youthful jam band touring US campuses or playing complex, composed music in a German concert hall, it's the man called Sco . . . As an example of what a highly talented orchestral composer can do when given the chance to rework tunes originally written to be played by a jazz combo, it's highly illuminating; as a piece of music that has in integrity of form and spirit, it's a pleasure to listen to.
. . . Sco may have buckeltloads of good work behind him, (but) this may be one of his strongest recordings, thanks to the undiluted orchestral approach of some pieces, and Sco's ability to deftly move within that environment, keeping his grooved-based jazz sensibilities intact. Turnage's contribution here can't be understated, either, as he clearly loves jazz as much as the orchestra. A refreshing mix . . .
There can be no qualms about the level of commitment from either the solo players, or the big band and orchestra -- directed with gusto by Hugh Wolff.
. . . the synthesis of classical and jazz elements is more convincing than in most so-called 'fusion', with a real sense of two musicians striking sparks off one another. Turnage gives surprising new perspectives to Scofield's epigrammatic, angular tunes . . . Handsomely packaged and with informative if over-eager booklet notes, this is a successful example of an oft-derided genre.
. . . a neat Scofield retrospective . . . what makes this record work is the highly intelligent way Turnage uses the resources and his obvious understanding of the mediums he's working within . . . It's an immaculately recorded and beautifully played album. A total pleasure to get something like this to review. Definitely the best record Sco's made in a while and an important Third Stream work from Turnage.
For those who by now assume that classical music and jazz are doomed to inhabit separate corners, proceed to the fascinating new project by Brit composer Mark-Anthony Turnage and jazz guitar great John Scofield, "Scorched" . . . Many try, few succeed in the mine-filled zone between jazz and classical music. Turnage is one of the rare hybridizers of note . . .
Turnage's re-imaginings of Scofield are . . . successful . . . Performances are top notch.
. . . the overall control of form is impressive.
Erstaunlich, wie gut es Turnage gelingt, den Scofieldschen Stil für die "most biggest" aller Bands, das Orchester, zu adaptieren. Dessen Eigenart, eine Melodie nur in Fetzen zu geben, die Töne abreißen zu lassen, sie am Fließen zu hindern, Löcher in die Phrasen zu graben, war zuvor nur von Thelonious Monk bekannt. "Fat Lip", bekannt von Scofields CD "Time On My Hands", ist eine dieser Melodien, die mehr verschweigen als ausplaudern - und dafür umso länger nachklingen. Turnage läßt sie erst einmal von dem Streicherrudel als harte Pizzicati zupfen, eine furios-virtuose Nummer, jagt sie dann durch alle Regionen des Orchesters. Seine Instrumentation schlägt Brücken zwischen den disparaten Klangkörpern, hebt die Durchschlagskraft des hart federnden Trios in Arrangements auf, die mit den Wassern der Moderne gewaschen sind - eine alchimistische Tätigkeit.
Facettenreich verknpüft er die Klangkörper, die komponierten und improvisierten Teile zu einem organischen Ganzen.