About

The instrumental music of the Austrian trio Scoop fuses various styles, such as  Blues, Rock and Jazz, in an original way. Ranging from rootsy acoustic slide guitar to artfully composed fusion music to raunchy Rock ´n Roll, the band´s debut album “Songs from The Shed” displays  great versatility and musicianship as well as  a self-assured sense of style. The album was characterized as “Jeff Beck in a remastered style” by Bluesmagazine.nl.

The new studio album “Palm Street Jive” features an even broader mix of styles. Once again refraining from the inclusion of lyrics, the band is applying all their chops and their musicianship to still make it worth the listener´s while.

The CD kicks off with country rock style “Up All Night”, which sets a muscular tone, displaying the powerhouse rhythm section of Sebastian Kreil (bass) and Wolfgang Maier (drums), and the excellent guitar work of founder and composer Christian Reich equally well.

The second track, “Atlanta”, can easily be described as a rock song without lyrics. It´s very distinctly structured, and listening to it for a few times may leave you whistling the melody for the rest of the day (or night).

“Last Train” is a country piece featuring a latin part in the middle. It´s plain fun and should be THE inevitable ice-breaker for any live situation.

“Occam´s Razor” changes the mood completely. It´s a very enjoyable tune, once you´ve mastered following the odd time signature (11/8) artfully wrapping itself around the simple 4/4 percussion. In fact, the song is amazing, and when the soulful tenor sax of guest musician Christian Bachner sets in unexpectedly, some listeners may even catch a glimpse of a crazy diamond shining on….

The title track conjures up images of the 50ies and literally compels you to tap your foot. Once again, the song is not functioning as a mere basis for endless soloing, but as a well structured entity with a short, brilliant solo that serves as a “topping”. This time, Reich`s guitar work is strongly reminiscent of what we used to hear from the late Danny Gatton.

“Mr. White” is clearly leaning towards the prog-rock direction. And when British violinist Cathy Stevens commences her solo, you have a hard time trying not to get mesmerized.

“Good To Me” brings you back again. It´s a bluesy tune giving Bachner a good opportunity to show why he is considered one of the premier jazz saxophone players in Austria. A stripped-down version of the song is featured at the end of the album.

The ostinato bass-riff at the beginning of “49er Boogie” prepares you for some vigorous rock´n roll. Reich´s Telecaster licks and solo and a fierce bass/guitar unisono spot leave you in no doubt that the band-leader has been a long-time admirer of the great Steve Morse. Which he willingly admits.

“Three Weeks and a Day” does what country waltzes are supposed to do: soothe our minds. This song features Kreil on fretless bass, Reich on resonator guitar, and Maier merely stroking his drums. And it displays yet another amazing facet of the trio: they can turn the music down.