Product Description Scott Amendola, who has toured with Charlie Hunter, T.J. Kirk, Madeleine Peyroux and many others, presents his third CD as a leader, featuring guitarists Nels Cline of Wilco and Jeff Parker of Tortoise. Also featured is violinist Jenny Scheinman who has toured and recorded with Bill Frisell. Believe is a strong statement from the drummer of The Nels Cline Singers. Review Amendola engages his players fully so that each piece develops its own chemistry, growing from the drummers elaborate, well-defined beats. -- Andrew Gilbert, East Bay ExpressAmendola has complete mastery of every piece of his drumset and the ability to create a plethora of sounds. -- Steven Raphael, Modern Drummer MagazineScott Amendola... knows how to pour on the juice, but he also cultivates a ritual tribalism. -- Nils Jacobson, www.allaboutjazz.comThese guys know the difference between playing their asses off and 'jamming'. -- Seattle Weekly
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From the Artist "Im very excited about this record its the best to date. Incredible interplay. Im grateful for all the efforts this band made to make this beautiful record, andI hope you enjoy it." - Scott Amendola About the Artist Music writer Derk Richardsons oft-quoted observation that "If Scott Amendola didnt exist the San Francisco music scene would have to invent him," is more true than ever. But whats become evident in recent years is that the extraordinarily resourceful drummer has evolved into a paragon of self-invention, a bandleader, composer and invaluable creative collaborator at the center of a vast array of improvisational ensembles. While rooted in the San Francisco Bay Area scene, Amendola has woven a dense and far reaching web of bandstand relationships that tie him to influential figures in jazz, blues, groove, rock and new music. An organizer by nature, he has become a creative nexus for a community of musicians stretching from Los Angeles and Seattle to Chicago and New York. See more
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4**R
I'm A Believer...
[BELIEVE - SCOTT AMENDOLA] An ethereal mist of cloud-like playing by Scott, Jenny Sheinman (violin), John Shifflett (upright bass), Nels Cline and Jeff Parker (guitars) leads the opening title track, 'Believe' into free-spirited, improvisational, yet in no way unstructured terrain, as the players feel each other out before a more defined structure is achieved and minor solos are explored. The second track, 'Oladipo' has a distinct Fela Kuti feel, and it's no surprise as it's an Afrobeat tribute written for one of Scott's major influences, Kuti's legendary drummer Tony Allen. The lead is taken up by Jenny's violin melody and subtle sensibilities while Nels and Jeff percolate on guitar figures that have a unique 70's distorted sound on the solos and tight, pristine rhythm tracks while Scott shades, grooves and underscores the rhythm like a master painter with an infinite palette of colors at his command.Next, Nels and Jeff noodle arhythmically for a spell before settling into a beautiful head in 'Shady', adding Jenny to join in unison as Shifflett's bass lays down the bottom while Scott's drums skitter over the entire form without disorienting the tune's proceedings - this is where he excels, being one of the few drummers out there who can solo while you can still hear and appreciate what the other ensemble players are doing. And it's always an ensemble, it's never one guy soloing over changes or dominating the track, it's one of the rare and unheard of times when a democratic principle truly works. (Our political factions in this country could learn much from these guys, but that's another story altogether, an unlikely fairy tale we'll never see come to fruition, sadly).'If Only Once' is a hauntingly beautiful ballad, both moody and delicate, reminding me of a mellowed Mahavishnu track that never was. Its restraint is why it works so well, and the reason why Mahavishnu could never pull it off. Nels even adds an Andy Summers riff recalling 'Bring On The Night' before Jenny's violin solo recollects Jerry Goodman's laid back work on his duet LP with Jan Hammer, 'Like Children'. It's truly trancelike, gorgeous stuff that will lull you anywhere but sleep.'Buffalo Bird Woman' springs from the gate with John Shefflett's bass before the remainder of the band join in on a track that displays more than a passing reference to Neil Young and Crazy Horse's raw and raucous energy. The duel guitar thing works wonders on this cd without ever becoming a guitar-led band. The respect these players show each other is nothing short of remarkable. There's even a bit of Jimi's 'Little Wing' evoked in the melody, and Nels lays down a fine lap steel guitar solo to make it all the more retro sounding yet refreshing and new. To be able to look back and move forward simultaneously is not an easy accomplishment, I assure you.'Smarty Pants' recalls boppish Blue Note late 50's/early 60's turf, with a bit of West Coast jazz sensibility thrown in for good measure(s). Jeff and Nels provide the suitable solos, while John's upright reminds me of Paul Chambers from that time period. Scott's drifting into Max's, Roy's and Elvin's world of otherworldly meter and nuance. When you add Jenny's violin unison playing to the head, it begins to reflect Stefane Grappelli - what's not to love here???The guitar harmonics that open 'Valentine' in 7/8 provide a launch pad for Jenny's elegantly soaring violin work, which later leads to a richly textured percussion cushion of shakers, bongos, claves and shading undercurrents of drums. The wraithlike violin solos and textural grains are luminescent and then Jeff and Nels trade eights while Scott splendidly eggs them on. Then there's the chaotic duo between Nels and Scott titled 'Resistance', beginning as an electric white noise conversation that evolves into a haunting exchange adding Jenny and company in a call to arms and a tense march that becomes more aggressive and driving, with Scott and Nels helming the wheel. Nels shows why he's the preeminent guitarist to emerge in years at the end of this jaunt. He conjures up the specters of all the greats before him and then mixes them in a cauldron like a warlock to become a chimera unto himself. The final track is another mercurial realm of eerie esoterica that will take you to the place that Sun-Ra went when he passed away, or at least as close to it as we will come to know in this life.A superlative effort from an electrifying ensemble of eclectic players that will lure, entice and beguile you from beginning to end, give this one a listen or three, and you too will come to 'Believe'.
T**S
Exquisite
"Believe," the third album by percussionist Scott Amendola's band, whose most recent high profile gig is with the Nels Cline trio, combines not only the talents of the aforementioned guitarist, but those of Jeff Parker, erstwhile jazz guitarist and axe slinger of Tortoise. With Nels in the left channel, Jeff on the right, navigating an eclectic but concise program of multi-genre, post-bop jazz, "Believe" is an open-minded jazz guitar lovers dream recording. Buttressed by Jenny Scheinman's gorgeous violin playing, John Schifflett's thick bass lines and Amendola's multi-genre percussive work outs, the quintet equitably covers abundant stylistic ground.The title track opens the album with a loose, improvisational feel, displaying the group's collective dynamics. "Oladipo," a syncopated Afro-Beat groove follows with its infectiously funky bass ostinato and syncopated guitar expositions. Post-bop traditionalism is fitfully embraced on "Smarty Pants." Mentioned as a homage to Neil Young's Crazy Horse, "Buffalo Bird Woman" sounds like an instrumental work out of one of Neil's more epic tunes. Continuing the Americana thread, "Shady" finds the band in Frisellian territory with part-time Bill Frisell co-conspirator Sheinman taking the lead on a tasty slice of down home roots music that wouldn't sound out of place on one of Bill's own records. Noisier, anthemic fare rears up on the aptly titled "Resistance" while Latin rhythms dominate on "Cesar Chavez." Although on paper this sounds like an exercise in globe hoping dilettantism, Amendola's band inhabits each of these genres and in so doing manages to bridge the tenuous gaps that sometimes divide them.Easily one of the finest albums of 2005, "Believe" is not only a jazz guitar lovers album, but a record capable of wining the hearts of anyone with an interest in quality improvised/composed music.
J**S
Magical
Klezmer hoedown meets world guitar-jazz with a heartland soul. Really, there's nothing quite like it out there. And Scott Amendola is to be congratulated for coming up with something not only genuinely new, but also so engaging.On paper, this doesn't seem as if it could possibly work--just too much weirdness to get things fully integrated. Let's take the aural signature. How to get two such iconoclastic guitarists as West Coast jazz splatter-king Nels Cline and Chicago avant-stalwart Jeff Parker to mesh? And how does Jenny Scheinmann, longtime Frisell violinist, fit into the picture? Won't these people be getting in each other's way? How will they mesh? Will there be sufficient timbral differentiation?All these questions are more than answered, and in a quite dramatic fashion, on the nine numbers herein. What's most surprising to me is the sheer beauty that leaks from these grooves. I'd expected some pretty out and somewhat unapproachable sounds given the personnel and label--and there's plenty of that--but it all comes wrapped in a very beguiling, and sometimes downright sensuously gorgeous, package. Just check out "Shady," for an example of what I mean.Should appeal to fans of Frisell's latest ventures, and anyone seeking heartlandish instrumental jazz of the highest order. One of the very best releases of 2005.
T**N
WOW!
This is a fantasic album. Completely enjoyable from track 1 to 9. I have never written an amazon review before, but this extraordinary album has ennerved me to do so. "Cry" is also very good but not as strong throughout as "Believe." From here I would suggest exploring Jenny Scheinman and Nels Cline's works on Crypto as well. It has opened up a whole new world for me. Todd Sickafoose, Todd Ettinger, Erik Friedlander here I come.Seriously, this is coming from a guy who likes Leonard Cohen, Willie Nelson, John Prine; but also Fugazi, Buddy Guy, Fran Zappa, and Mos Def. If good music hits you right in the middle of your chest - give Scott Amendola a try.
D**R
Crypto-resistance
Un projet sous le seul nom de Scott Amendola, batteur dans le trio de Nels Cline, ne peut qu'intriguer. D'autant plus quand on s'aperçoit que la violoniste Jenny Scheinman en fait partie. Le groupe est complété par le bassiste John Shifflett, et deux guitaristes : Nels Cline, évidemment, ainsi que Jeff Parker - entendu notamment sur le Momentum de Joshua Redman.Soixante-dix minutes durant, le quintet se livre aux plus délectables exactions sonores. Rien d'étonnant au vu du line-up !Enregistré en août 2005 à San Francisco, s'ouvrant sur une fusion sombre et libertaire en guise de tour de chauffe (« Believe »), le disque a tout de la perle oubliée, passée presque inaperçue au moment de sa sortie.La nervosité magmatique de l'entrée en matière est vite contrebalancée par une précision chirurgicale dans « Oladipo », hommage corsé et enthousiaste à Tony Allen, batteur emblématique de l'afrobeat...Le groupe produit aussi quelques relâches tendres et apaisantes : la longue ballade « If only once » (où s'exprime le versant le plus jazz de Nels Cline), et la longue contemplation de « Cesar Chavez », sont des accalmies nécessaires pour mieux absorber « Buffalo bird woman » (clin d’œil sauvage à Neil Young, et pourquoi pas à la Dalva de Jim Harrison), l'enfièvrement progressif de « Valentine », porté par une Jenny Scheinman en grande forme, ou le cauchemar volontaire de « Resistance » - une pièce dans laquelle l'expérimentation électronique tressée par Amendola se taille une belle place, loin d'une pose anecdotique, et accouche d'un beau chant de lutte, rauque et indomptable.Tout cela fait de Believe un album intense et pénétrant, très varié. Très copieux aussi, mais jamais indigeste. Revigorant, oui !Le label, avec son habituelle élégance, produit une nouvelle preuve de son intégrité et de l'audace de sa ligne éditoriale.
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\"Im very excited about this record its the best to date. Incredible interplay. Im grateful for all the efforts this band made to make this beautiful record, andI hope you enjoy it.\" - Scott Amendola
About the Artist
Music writer Derk Richardsons oft-quoted observation that \"If Scott Amendola didnt exist the San Francisco music scene would have to invent him,\" is more true than ever. But whats become evident in recent years is that the extraordinarily resourceful drummer has evolved into a paragon of self-invention, a bandleader, composer and invaluable creative collaborator at the center of a vast array of improvisational ensembles.
While rooted in the San Francisco Bay Area scene, Amendola has woven a dense and far reaching web of bandstand relationships that tie him to influential figures in jazz, blues, groove, rock and new music. An organizer by nature, he has become a creative nexus for a community of musicians stretching from Los Angeles and Seattle to Chicago and New York.
","image":["https://m.media-amazon.com/images/I/61bq8LORwNL.jpg","https://m.media-amazon.com/images/I/71vHYOFQ7vL.jpg"],"offers":{"@type":"Offer","priceCurrency":"EUR","price":"58.32","itemCondition":"https://schema.org/NewCondition","availability":"https://schema.org/InStock","shippingDetails":{"deliveryTime":{"@type":"ShippingDeliveryTime","minValue":19,"maxValue":19,"unitCode":"d"}}},"category":" jazz","review":[{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"5.0"},"author":{"@type":"Person","name":"4***R"},"datePublished":"Reviewed in the United States on March 2, 2011","name":"\n\n\n\n\n\n\n\n \n \n I'm A Believer...\n \n","reviewBody":"[BELIEVE - SCOTT AMENDOLA] An ethereal mist of cloud-like playing by Scott, Jenny Sheinman (violin), John Shifflett (upright bass), Nels Cline and Jeff Parker (guitars) leads the opening title track, 'Believe' into free-spirited, improvisational, yet in no way unstructured terrain, as the players feel each other out before a more defined structure is achieved and minor solos are explored. The second track, 'Oladipo' has a distinct Fela Kuti feel, and it's no surprise as it's an Afrobeat tribute written for one of Scott's major influences, Kuti's legendary drummer Tony Allen. The lead is taken up by Jenny's violin melody and subtle sensibilities while Nels and Jeff percolate on guitar figures that have a unique 70's distorted sound on the solos and tight, pristine rhythm tracks while Scott shades, grooves and underscores the rhythm like a master painter with an infinite palette of colors at his command.Next, Nels and Jeff noodle arhythmically for a spell before settling into a beautiful head in 'Shady', adding Jenny to join in unison as Shifflett's bass lays down the bottom while Scott's drums skitter over the entire form without disorienting the tune's proceedings - this is where he excels, being one of the few drummers out there who can solo while you can still hear and appreciate what the other ensemble players are doing. And it's always an ensemble, it's never one guy soloing over changes or dominating the track, it's one of the rare and unheard of times when a democratic principle truly works. (Our political factions in this country could learn much from these guys, but that's another story altogether, an unlikely fairy tale we'll never see come to fruition, sadly).'If Only Once' is a hauntingly beautiful ballad, both moody and delicate, reminding me of a mellowed Mahavishnu track that never was. Its restraint is why it works so well, and the reason why Mahavishnu could never pull it off. Nels even adds an Andy Summers riff recalling 'Bring On The Night' before Jenny's violin solo recollects Jerry Goodman's laid back work on his duet LP with Jan Hammer, 'Like Children'. It's truly trancelike, gorgeous stuff that will lull you anywhere but sleep.'Buffalo Bird Woman' springs from the gate with John Shefflett's bass before the remainder of the band join in on a track that displays more than a passing reference to Neil Young and Crazy Horse's raw and raucous energy. The duel guitar thing works wonders on this cd without ever becoming a guitar-led band. The respect these players show each other is nothing short of remarkable. There's even a bit of Jimi's 'Little Wing' evoked in the melody, and Nels lays down a fine lap steel guitar solo to make it all the more retro sounding yet refreshing and new. To be able to look back and move forward simultaneously is not an easy accomplishment, I assure you.'Smarty Pants' recalls boppish Blue Note late 50's/early 60's turf, with a bit of West Coast jazz sensibility thrown in for good measure(s). Jeff and Nels provide the suitable solos, while John's upright reminds me of Paul Chambers from that time period. Scott's drifting into Max's, Roy's and Elvin's world of otherworldly meter and nuance. When you add Jenny's violin unison playing to the head, it begins to reflect Stefane Grappelli - what's not to love here???The guitar harmonics that open 'Valentine' in 7/8 provide a launch pad for Jenny's elegantly soaring violin work, which later leads to a richly textured percussion cushion of shakers, bongos, claves and shading undercurrents of drums. The wraithlike violin solos and textural grains are luminescent and then Jeff and Nels trade eights while Scott splendidly eggs them on. Then there's the chaotic duo between Nels and Scott titled 'Resistance', beginning as an electric white noise conversation that evolves into a haunting exchange adding Jenny and company in a call to arms and a tense march that becomes more aggressive and driving, with Scott and Nels helming the wheel. Nels shows why he's the preeminent guitarist to emerge in years at the end of this jaunt. He conjures up the specters of all the greats before him and then mixes them in a cauldron like a warlock to become a chimera unto himself. The final track is another mercurial realm of eerie esoterica that will take you to the place that Sun-Ra went when he passed away, or at least as close to it as we will come to know in this life.A superlative effort from an electrifying ensemble of eclectic players that will lure, entice and beguile you from beginning to end, give this one a listen or three, and you too will come to 'Believe'."},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"5.0"},"author":{"@type":"Person","name":"T***S"},"datePublished":"Reviewed in the United States on June 7, 2005","name":"\n\n\n\n\n\n\n\n \n \n Exquisite\n \n","reviewBody":"\"Believe,\" the third album by percussionist Scott Amendola's band, whose most recent high profile gig is with the Nels Cline trio, combines not only the talents of the aforementioned guitarist, but those of Jeff Parker, erstwhile jazz guitarist and axe slinger of Tortoise. With Nels in the left channel, Jeff on the right, navigating an eclectic but concise program of multi-genre, post-bop jazz, \"Believe\" is an open-minded jazz guitar lovers dream recording. Buttressed by Jenny Scheinman's gorgeous violin playing, John Schifflett's thick bass lines and Amendola's multi-genre percussive work outs, the quintet equitably covers abundant stylistic ground.The title track opens the album with a loose, improvisational feel, displaying the group's collective dynamics. \"Oladipo,\" a syncopated Afro-Beat groove follows with its infectiously funky bass ostinato and syncopated guitar expositions. Post-bop traditionalism is fitfully embraced on \"Smarty Pants.\" Mentioned as a homage to Neil Young's Crazy Horse, \"Buffalo Bird Woman\" sounds like an instrumental work out of one of Neil's more epic tunes. Continuing the Americana thread, \"Shady\" finds the band in Frisellian territory with part-time Bill Frisell co-conspirator Sheinman taking the lead on a tasty slice of down home roots music that wouldn't sound out of place on one of Bill's own records. Noisier, anthemic fare rears up on the aptly titled \"Resistance\" while Latin rhythms dominate on \"Cesar Chavez.\" Although on paper this sounds like an exercise in globe hoping dilettantism, Amendola's band inhabits each of these genres and in so doing manages to bridge the tenuous gaps that sometimes divide them.Easily one of the finest albums of 2005, \"Believe\" is not only a jazz guitar lovers album, but a record capable of wining the hearts of anyone with an interest in quality improvised/composed music."},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"5.0"},"author":{"@type":"Person","name":"J***S"},"datePublished":"Reviewed in the United States on June 16, 2005","name":"\n\n\n\n\n\n\n\n \n \n Magical\n \n","reviewBody":"Klezmer hoedown meets world guitar-jazz with a heartland soul. Really, there's nothing quite like it out there. And Scott Amendola is to be congratulated for coming up with something not only genuinely new, but also so engaging.On paper, this doesn't seem as if it could possibly work--just too much weirdness to get things fully integrated. Let's take the aural signature. How to get two such iconoclastic guitarists as West Coast jazz splatter-king Nels Cline and Chicago avant-stalwart Jeff Parker to mesh? And how does Jenny Scheinmann, longtime Frisell violinist, fit into the picture? Won't these people be getting in each other's way? How will they mesh? Will there be sufficient timbral differentiation?All these questions are more than answered, and in a quite dramatic fashion, on the nine numbers herein. What's most surprising to me is the sheer beauty that leaks from these grooves. I'd expected some pretty out and somewhat unapproachable sounds given the personnel and label--and there's plenty of that--but it all comes wrapped in a very beguiling, and sometimes downright sensuously gorgeous, package. Just check out \"Shady,\" for an example of what I mean.Should appeal to fans of Frisell's latest ventures, and anyone seeking heartlandish instrumental jazz of the highest order. One of the very best releases of 2005."},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"5.0"},"author":{"@type":"Person","name":"T***N"},"datePublished":"Reviewed in the United States on November 8, 2007","name":"\n\n\n\n\n\n\n\n \n \n WOW!\n \n","reviewBody":"This is a fantasic album. Completely enjoyable from track 1 to 9. I have never written an amazon review before, but this extraordinary album has ennerved me to do so. \"Cry\" is also very good but not as strong throughout as \"Believe.\" From here I would suggest exploring Jenny Scheinman and Nels Cline's works on Crypto as well. It has opened up a whole new world for me. Todd Sickafoose, Todd Ettinger, Erik Friedlander here I come.Seriously, this is coming from a guy who likes Leonard Cohen, Willie Nelson, John Prine; but also Fugazi, Buddy Guy, Fran Zappa, and Mos Def. If good music hits you right in the middle of your chest - give Scott Amendola a try."},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"5.0"},"author":{"@type":"Person","name":"D***R"},"datePublished":"Reviewed in France on October 26, 2016","name":"\n\n\n\n\n\n\n\n \n Crypto-resistance\n \n \n","reviewBody":"Un projet sous le seul nom de Scott Amendola, batteur dans le trio de Nels Cline, ne peut qu'intriguer. D'autant plus quand on s'aperçoit que la violoniste Jenny Scheinman en fait partie. Le groupe est complété par le bassiste John Shifflett, et deux guitaristes : Nels Cline, évidemment, ainsi que Jeff Parker - entendu notamment sur le Momentum de Joshua Redman.Soixante-dix minutes durant, le quintet se livre aux plus délectables exactions sonores. Rien d'étonnant au vu du line-up !Enregistré en août 2005 à San Francisco, s'ouvrant sur une fusion sombre et libertaire en guise de tour de chauffe (« Believe »), le disque a tout de la perle oubliée, passée presque inaperçue au moment de sa sortie.La nervosité magmatique de l'entrée en matière est vite contrebalancée par une précision chirurgicale dans « Oladipo », hommage corsé et enthousiaste à Tony Allen, batteur emblématique de l'afrobeat...Le groupe produit aussi quelques relâches tendres et apaisantes : la longue ballade « If only once » (où s'exprime le versant le plus jazz de Nels Cline), et la longue contemplation de « Cesar Chavez », sont des accalmies nécessaires pour mieux absorber « Buffalo bird woman » (clin d’œil sauvage à Neil Young, et pourquoi pas à la Dalva de Jim Harrison), l'enfièvrement progressif de « Valentine », porté par une Jenny Scheinman en grande forme, ou le cauchemar volontaire de « Resistance » - une pièce dans laquelle l'expérimentation électronique tressée par Amendola se taille une belle place, loin d'une pose anecdotique, et accouche d'un beau chant de lutte, rauque et indomptable.Tout cela fait de Believe un album intense et pénétrant, très varié. Très copieux aussi, mais jamais indigeste. Revigorant, oui !Le label, avec son habituelle élégance, produit une nouvelle preuve de son intégrité et de l'audace de sa ligne éditoriale."}],"aggregateRating":{"@type":"AggregateRating","ratingValue":5,"bestRating":5,"ratingCount":5}}
