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Quiet


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Quiet
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Audio CD, September 24, 1996
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Editorial Reviews

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John Scofield didn't even own an acoustic guitar when Pat Metheny brought along a pair of them for the guitarists' 1993 duo session, "I Can See Your House From Here." Scofield was so intrigued by the experience that he went out and bought his own nylon-string instrument, spent hours playing it and ultimately composed eight pieces especially for his new plaything. Those eight tunes (plus a ninth by producer Steve Swallow) comprise Scofield's new album, aptly entitled "Quiet." Scofield was too smart to simply transplant his electric-guitar techniques--which rely so heavily on distortion and attack--to the acoustic instrument. Instead, he took advantage of the nylon strings' intimacy and responsiveness to compose romantic melodies and play them in a clean, understated style. --Geoffrey Himes

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

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Song Title Time Price
listen  1. After The Fact 5:26$0.99  Buy MP3 
listen  2. Tulle 5:01$0.99  Buy MP3 
listen  3. Away With Words 6:50$0.99  Buy MP3 
listen  4. Hold That Thought 6:24$0.99  Buy MP3 
listen  5. Door #3 5:48$0.99  Buy MP3 
listen  6. Bedside Manner 6:49$0.99  Buy MP3 
listen  7. Rolf And The Gang 5:23$0.99  Buy MP3 
listen  8. But For Love 5:38$0.99  Buy MP3 
listen  9. Away 3:33$0.99  Buy MP3 

Product Details

  • Audio CD (September 24, 1996)
  • Number of Discs: 1
  • Label: Verve Records
  • ASIN: B000004753
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (17 customer reviews)
  • Amazon Best Sellers Rank: #137,809 in Music (See Top 100 in Music)

Customer Reviews

4.1 out of 5 stars

Most Helpful Customer Reviews

10 of 10 people found the following review helpful By Jazzmountain on May 15, 2000
Format: Audio CD
Arranger Sco's master class. I seldom hear chords like these. Reminds me of Debussy's surreal harmonic spheres. Yet it swings when it has to. A Scofield fan friend of mine said while listening: 'It is surprising how a pyro-heavy can calm down so swingingly'.
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6 of 6 people found the following review helpful By Randall Klein on October 22, 2003
Format: Audio CD
This album is an exquisite little gem, which seamlessly bridges Jazz and Classical. To my ears it is one piece of music with 8 or 9 movements, (Steve Sallow wrote the last piece on the album.) In the liner notes John writes that he worked several months on the compositions and arrangements, which in my opinion are inseparable. The heads and solos flow together so smoothly as to be almost indistinguishable from each other, with their long arching melodies weaving a tapestry from beginning to end which is lovely and captivating. I invariably find the melodies stuck in my head hours, or sometimes even days after hearing them. For me, Steve Sallow's solo on "After the Fact" is magnificent, his command in the upper registers being so impressive and his line so melodic that when he finally dives down into the lower register the listener may be caught off guard by the surprise that he is listening to a bass solo. The arrangements and instrumentations, which coax lovely textures from the group at times hearken back to the French school. Some of the movements at times bring to mind Darius Milhoud's "Le Creation Du Monde", which is somewhat ironic, being that the French masters Milhoud, Ravel and Debussy were highly influenced by Jazz, and so we come full circle with the their influence on Mr. Scofield. For me however, the most astounding and wonderful aspect of this music is that the distinction between the written arrangements and the improvisations is blurred to such an extent that they become one, and in their own way transcend some of the limitations of both mediums. If you are in the mood for a relaxing and undulating melodic journey, then I can't imagine not enjoying this music.
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3 of 3 people found the following review helpful By Erik Werkman on February 25, 2000
Format: Audio CD
This is an amazingly beautiful album, as already stated in the other reviews below. I only would like to add that the beauty also comes from the delicate drumming of both Bill Stewart and Duduka Da Fonseca (the last one is featured on three of the more bossa nova oriented tracks) and the brilliant bass figures of Steve Swallow. They supply Sco with the perfect rhythmical foundation for this album that begs for repeated listenings. Even non-Sco lovers should love this album!
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By D. Bartholome on June 5, 2013
Format: Audio CD
A friend of mine bought this CD for me, and I was doubly underwhelmed, first because I already owned it, and second because I had listened to it once and wasn't wild about it. But courtesy seemed to require listening to it again, so I did, and I thought, "Hmm, interesting." After a few weeks, I tried it again: "Hmm, quite interesting."

You see where I'm heading with this. It takes a while to get this music. It doesn't reach out and grab you; you have to come to it. (In spite of the title, it's not really suitable as background music; it requires focus.)

Where do the rewards of repeated listening lie? For me, in two things. First, there's Sco's always-interesting soloing. Like Miles at his best, Sco seems almost incapable of playing a cliche. (His sound does take some getting used to here, since he sticks exclusively to nylon string; that's a bit of a hurdle for those of us who dig the slightly-distorted tone he gets on electric.) Second, there are the horn arrangements, which result in some really interesting textures. I've always dug Sco's horn arrangements; check out the album he did with Bill Frisell on Blue Note ("Grace Under Pressure," I think it was called).

Bottom line: I'm selling one copy and hanging on to the other!
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By A Customer on July 6, 1999
Format: Audio CD
John Scofield dabbles into acoustic guitar and horn sections in "Hand Jive" (1994) and "Groove Elation" (1995), then dives headlong into both for his Verve debut in "Quiet". The results are very satisfying.
Scofield puts an english horn and two french horns in his brass and fronts it with a Latin-tinged nylon-string guitar that grabs your attention through subtlety; a sort of Charlie Byrd-meets-Gil Evans. Not surprisingly, then, the songs featuring Wayne Shorter's tenor sax are reminiscent of the jazz samba records Byrd did with Stan Getz in the sixties, even though Shorter sounds very much like his classic Blue Note self.
You won't find many of the hot guitar licks here that can be found on any other Scofield CD; the compositions and arrangements take the center stage this time. It may take longer for Sco's "traditional" fans to get used to this record and a few songs drag just a little bit, but on its own terms, it is a very fine record.
Few jazz artists have made successful recordings after changing directions away from a successful formula. Like his former boss Miles Davis, Scofield proves (again) with "Quiet" that he belongs in that elite.
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2 of 3 people found the following review helpful By Richard Cohn on November 22, 1999
Format: Audio CD
As with all great music, repeated listening unearths new pleasures. Scofield has always been a masterful player and composer--with Quiet he proves an inspired arranger as well. Exquisite melody and harmony pour out of every track with subtle and precise horn arrangements that add the dynamics to make each selection a rich and bountiful feast. Reminiscent of Gil Evans yes, but married to a distinctive guitar style and compositional perspective that accomplishes something fresh and deeply moving. Close your eyes and listen to this one--it is the soundtrack to a sensual and colorful world of heartfelt substance and thoughtful soul.
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