John Scofield & Pat Metheny
I Can See Your House From Here

It is the meeting of two major figures in contemporary jazz. It is the fusion of Scofield's jazz-rock-blues sound with Metheny's jazz-fusion. It is the project of two masters with exquisite technique. It is the moderation of Methenyan anarchy filtered through Scofield's conservative spirit. It is the culmination of a decades-long friendship and home sessions. It is "I Can See Your House From Here," released in 1994, the first collaboration for the quartet composed of Scofield, Metheny, Steve Swallow (a trusty bassist of notable caliber and experience), and the young energetic drummer Bill Stewart. Label: Blue Note.

Same blood, same lineage, and a singular goal: a refined work, classy and intense enough to make an impression, to entertain, have fun, and go beyond their capabilities. The opening is intense, deep, electric, in "I Can See Your House From Here," written by Scofield, who performs a gritty solo. It is a tough piece, with typical Ohio guitarist nuances, at times challenging. "The Red One" is Metheny-branded, a full jazz atmosphere with strong rock references. The chemistry is excellent.

"No Matter What" is delicate, written by Scofield, a precious ballad for the solos. The personal interlude with Steve Swallow's bass is indeed interesting. In "Everybody's Party", John's contribution is tougher, at times very sharp. Pat's contribution is soft and sinuous. The sound is very captivating, with jazz and rock touching multiple times. The two masters duet in unison.
"Message to my Friend" is a ballad with an old flavor, authored by Pat, written with friend Charlie Haden in mind. "No Way Jose" has a good rhythm, authored by John. In this piece too, Scofield's favored musical themes are frequent. A distorted, sometimes ambiguous depiction for a great execution. A positive but tough piece.

"Say The Brother's Name" is a Metheny classic, much slowed down for the occasion. It must be said that the melody is very soft and elegant. A truly refined piece. A purely jazz key, absolutely unmissable and a pillar of the album, is "S.C.O.", which I have always lauded as a piece that maintains a constant and overwhelming intensity. Great drumming work and excellent guitar interweaving for a track that stands as a testament to a meeting of authors, and in this case, an excellent attempt by Metheny to get closer to a musical reality less aligned with his creative realm. A demonstration of excellent flexibility for the Missouri guitarist. Fabulous and thoughtful. I highlight Stewart's great contribution.

Back to slow rhythms in "Quiet Rising", again by Metheny, but it is not unforgettable. Stewart's brushes are excellent once more. "One Way To Be" and "You Speak My Language" are by Scofield, with electric and rocking atmospheres. The latter is decidedly more daring, acoustic and "filtering", with a sly and charming groove. The theme is developed with elegant skill and sophistication. An excellent closure.

Good critical feedback. It is a powerful album, more Scofieldian in nature than Methenyan, played really well. A note on Bill Stewart: he will collaborate again with Pat on the excellent layout of Trio 99/00. The drummer's phrasing ability should not go unnoticed. A volcano.