The 11 original songs on überjam showcase a group that explores diverse influences and styles while maintaining an irresistible groove. Launching with the eastern aura of "Acidhead," easing into the languid "Tomorrow Land," and ending with the super-funky climax of "Lucky For Her," überjam takes listeners on a modern journey of forward-thinking compositions and captivating improvisations by the Scofield band.
"I had to search high and low to find the right musicians to make this record with me. It took a long time to find them, but I know that these guys are the best I’ve played with in this idiom. It’s a pleasure to go to work every day." Scofield elaborates: "I especially wanted to record with my band this time rather than make an ‘all-star’ record. The band has grown over the past three years and nothing compares with an entity that develops over time. We went into Avatar Studios and started recording immediately after a 40-concert tour and the band was really tight. With the additional inspiration of John Medeski and Karl Denson’s contributions, we were really cooking."
"Almost every interviewer asks me about my past experience with Miles Davis. Out of all the albums I’ve made - I think this is the one that Miles would have approved of and enjoyed the most. He was always looking to take Jazz to a new place." - John Scofield
Consistently the #1 choice among critics and fans for best jazz guitarist, John Scofield is the rare musician who, while already residing in the jazz pantheon, still moves (and grooves) the music forward by leaps and bounds. His latest CD, überjam, marks the debut of The John Scofield Band, a working band of the highest order that includes some of the most creative and talented instrumental voices on the scene today.
With special guests John Medeski and Karl Denson on select tracks, überjam is rooted soundly in the spirit of jazz and instrumental improvisation, while also traversing the worlds of funk, groove, and rock, and mixing jungle and other electronic beats. A true collaboration, many of the songs developed organically during the band’s last world tour. Look for The John Scofield Band on the road as they tour non-stop from the end of January through April, providing one of the best live shows you will see in 2002!
Produced by John Scofield and Jason Olaine. Recorded and mixed by Joe Ferla. Executive producer Susan Scofield
Additional recording by Kevin Killen, Assistant engineer on erverything - Ross Peterson, Recorded July 30 through August 1, August 29-30, and September 6, 2001 at Avatar Studios, New York, Mixed 10-13 September 2001 by Joe Ferla at Avatar Studios, New York, Mastered 25 September 2001 by Greg Calbi at Sterling Sound, New York. Recording coordination by Stephanie Faraci and Evelyn Morgan.
John Scofield talks about überjam:
"Acidhead"
This song came about when we started jamming on Jesse’s dub bass line, which anchors the entire song. Avi’s Indian samples inspired me to improvise in a faux-Eastern style. I came up with a melody and just generally let the tune evolve over months on the road. This is a true four-way collaboration. John Medeski came in to the studio and added a lot to the sound of the piece with his odd and unique Mellotron–a weird, interesting antique keyboard. "Acidhead" is played freely with a very minimal form.
"Ideofunk"
I wrote this in about five minutes but I thought the melody was too simplistic. After we played it for a while, I decided I liked it. Karl Denson takes an overblowing, overtoned flute solo, reminding me of Rahsaan Roland Kirk.
"Jungle Fiction"
This tune started out a few years ago when the younger (than me) musicians I played with started to play drum n’ bass or "jungle beat" at a rehearsal. I really wanted to explore this style because I like the fast tempos. The tonalities are very major, a departure from the minor and bluesy sounds of the rest of the album. I’m proud of this one.
"I Brake For Monster Booty"
Everybody brought in their own part here. We just started this jam at the beginning of a long tour and it developed over a few months. There are memorable double rhythm guitar parts between Avi and me—I love the way the two guitars work here. I think it’s the funkiest track on the record.
"Animal Farm"
I wrote this one. It was a "normal" tune until Medeski played in the studio with us and it developed into the barnyard cacophony that it is now. The "dying goose" sound is my guitar sampler—with apologies to geese everywhere.
"Offspring"
I wrote this on the first day of Spring. It’s jazz but it also rocks. What we’re doing during the guitar solo is a fine example of us playing together as a quartet—a loose, live feel. It’s all really spontaneous.
"Tomorrow Land"
Avi brought in this tune. It has a country-soul feel that’s very "back porch"—warm and rhythmic. This tune stands out from the other material—a rest stop in the middle of the funk.
"überjam"
This is the archetypal jam composition of the album. We started jamming on it about three years ago. Everybody put in their two cents and eventually "überjam" was created. It has six composers. Somehow "Blue Moon" worked its way in and became an integral part of the song. This is what puts the "jam" into this band!
"Polo Towers"
I wrote this while playing a week in Las Vegas—not exactly the jazz capital of the world. If there’s one thing people don’t want after a long day of gambling—it’s an evening of progressive jazz with long solos! Jesse and Adam lock in to the best hip-hop groove of the album. Karl uses a weird 1960’s electronic sax device that is totally warped.
"Snap, Crackle, Pop"
Adam Deitch provides the snap, crackle, and pop here. The actual composition is a little bit schizo with a lyrical melody over the super-groove. Avi’s rhythm guitar breaks demonstrate why Charlie Hunter calls him the greatest rhythm guitar player in the world. This one makes me want to dance.
"Lucky For Her"
This is the first song we play at our concerts and we’ve come full circle putting this at the end of überjam. It begins with a mechanical hodgepodge and my "Lucky" melody that evolves into Avi and Jesse locking into some super-funk. I love the way machines, guitars, and drums meet on this song.
