The Scott Sherwood Trio:
“Headin' Home”
(Live at the University of Rhode Island)
Scott Sherwood: electric guitar
Mike Nunno: electric bass
Paul Hannah: drums
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About the Music
Produced by Paul Hannah and Paul G. Kohler for Art of Life Records.
Recorded live to two-track digital by Mike Sartini at
The University of Rhode Island Jazz Festival in Kingston, Rhode Island in 1996.
24-bit digital mastering by Paul G. Kohler at Art of Life Studios, Charleston, SC in October 2020.
Photos of Scott, Mike and Paul by John Samuel Peterson.
Album cover design by Paul G. Kohler.
Special thanks to Jennifer Sherwood Gaul.
Selected Quotations
"Guitarist Scott Sherwood had a tone and sound that many smooth jazz and new age guitarists would envy, sinuous and undulating, evoking notes without recognizable pick attack. But, like the guitarists he admired—John Abercrombie, Pat Metheny, Jim Hall— he employed that sound to express substantial jazz ideas, not simply ambient noodling. Sherwood, who died of cancer 12 years ago this month at 46, grew up in Texas and began his career there and in Milwaukee. He moved to New York in 1996, where he formed a trio with drummer Paul Hannah, a confederate from his Austin, Texas days and electric bassist Mike Nunno, whom Hannah met in New York. This is the band’s first concert, a gig at the 1996 Rhode Island Jazz Festival.
There are seven tracks, all originals by Sherwood that range from ballad to waltz, blues beats to bop swing. The tunes tend toward simplicity, yet resonate hypnotically, like the repeating line of the title track or scale-climbing phrases of “Hymn to Her”. There’s even a playful take on the blues clavé of the Bo Diddley beat: “Diddley Squat” opens with a Hannah solo, Sherwood then floating over the insistent rhythm with a skein of elongated notes and slurs suggestive of the Pat Metheny Group. “Night Waltz” features another felicitous melody over delicate 3/4 rhythms, guitar and bass both soloing lyrically.
The wonder though is what Hannah, in the notes, calls “the magic from the get-go. It sounded as if one musician was playing three instruments simultaneously.” The rapport is extraordinary, especially considering that this was the trio’s debut. It can be heard in the way Hannah and Nunno shadow Sherwood’s lead on “Shadow Play”, a piece that alludes to meters like 3/4 and 6/8 while remaining a heartbeat ballad, and on “Green”, where Hannah’s syncopated hands and sticks create a snappy rolling rhythm, Nunno rising out of the rhythmic maelstrom, then countering and echoing phrases behind Sherwood’s solo. The group feel culminates in the closer, “Playthings”, a boppish unison line from bass and guitar that cedes into a colloquy tandem soli by all three as the tempo accelerates and recedes (à la Mingus) like a giant beating heart."
George Kanzler The New York City Jazz Record
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