Gothic Theatre

John Scofield Plays The Music Of Ray Charles

JOHN SCOFIELD TRIO
(EnRoute)

It’s a frigid December night during the coldest winter in recent memory. Entering New York City’s Blue Note jazz club, you pass through the darkened foyer, proceed through the bar and settle at a table in front of the narrow stage. The lights dim. “Ladies and gentlemen,” the announcer says, “please welcome the John Scofield Trio!”

Suddenly, the cold weather outside is a distant memory, chased away by the heat generated by three great musicians hitting their stride. Old friends and longtime musical partners, guitarist John Scofield and his trio mates—bassist Steve Swallow and drummer Bill Stewart—are aglow with camaraderie and spontaneous invention. The three throw off sparks as they bob, dip and weave through a tightly knit set of jazz standards and savvy original compositions. More than just a collection of tunes, the trio is playing music that embodies the spirit that has kept jazz vigorous and visceral since its birth.

Hundreds of fortunate music fans, residents and visitors alike shared this experience when the John Scofield Trio played that week in December 2003. If you were there, you’ll always remember it. And happily, Verve Records was there as well, preserving the experience for posterity as EnRoute, Scofield’s seventh Verve release.

Previously recorded outings by Scofield have found him performing in elaborate settings. His works range from the plugged-in, electronically tweaked jamming of his last Verve release, Up All Night, to the full orchestral setting of the recent Scorched, a collaboration with British composer Mark-Anthony Turnage issued earlier this year on the venerable classical imprint, Deutsche Grammophon. But for EnRoute, Scofield wanted to focus on the high-wire interaction of a small, closely knit band in the heat of a live setting. He arrived at the Blue Note armed only with his trusty guitar, amp and whammy pedal, and left his more elaborate electronic gear at home.

“I wanted to make a real jazz-improvising statement in a live situation with two of my favorite musicians,” Scofield says. “It’s really challenging. You don’t rely on arrangements as much as on the way the group plays together. You don’t rely on anything other than good playing, and you know there’s no lifejacket or safety net involved. That doesn’t happen as often in a studio setting: I think the big difference is the audience. There is a symbiotic affinity between the artists and the audience that makes for something special.”

Scofield wanted EnRoute to document the flow of a typical live set on a hot night. For jazz buffs, that’s precisely why the live trio record stands as one of the purest representations of the art form. He’s quick to name his own favorites: “Bill Evans’ [Sunday] at the Village Vanguard is one that I like a lot. Sonny Rollins’ A Night at the Village Vanguard, Jim Hall’s Jim Hall Live!, and John Coltrane, Live at the Village Vanguard: On ‘Impressions’ and ‘Take the Coltrane,’ there’s no piano, so it’s a trio — and those are sides that changed my life.”

On EnRoute, Scofield proves that he, too, has mastered the art of constructing an exceptional live document. In one sense, the album turns the clock back to the formative years of his long, illustrious career as a bandleader: two early live trio albums, Shinola and Out Like a Light, were also recorded during a week of December performances, back in 1981. “I remember being a lot more uptight when I played back then!” Scofield recalls with a laugh. “Now, I’m just able to embrace the moment more and enjoy it. I really had a good time making this record.”

Scofield has come a long way as a player and leader since those early years, but one thing that EnRoute has in common with those early dates is Steve Swallow. “There is no other man like him in music,” Scofield says with genuine admiration. Not only does he play like an upright player—like the great, seasoned jazz veteran that he is—but he’s also an electric bassist who can play chords and solos like a guitarist. He adds that whole other element; what we can do is so strong harmonically."

Drummer Bill Stewart, the third side to the triangle on EnRoute, has also logged many miles with Scofield, having first played with the guitarist some 14 years ago. “I think he’s playing as good as any drummer in the history of jazz,” Scofield states. “Bill knows everything that I’m playing harmonically, and with that understanding, he responds to what Steve and I play in an incredibly musical way. And also, he’s got great time: His inner clock is set and it does not move!”

Stewart’s rock-steady pulse and unique rhythmic conception are readily apparent from the opening bars of “Wee,” the Denzil Best-penned bop standard that opens EnRoute. “We got into playing this tune years ago because Bill plays a fantastic beat on it,” Scofield explains, "and the way Steve breaks it up on bass, no one plays like that. It’s a jazz tune and it’s swinging, but it’s grooving in another kind of way, too. I wanted to start the album with this because it’s so happy, and also because the way these guys play it is so unique.

“Toogs” was inspired by the two miniature dachshunds that guard the Scofield home. “‘Toogs’ stands for ‘two dogs,’” he explains, somewhat sheepishly. The generous, loping melody paints a scene of domestic bliss. Midway through, however, Scofield and Stewart launch into a heated exchange more than slightly reminiscent of Coltrane and Jones’s legendary duels, while Swallow settles into a backing vamp. “It starts as this pretty little thing,” Scofield says, “and then there’s a dogfight at the end!”

The third selection, “Name That Tune,” is a timely reminder that bassist Swallow is also a composer of distinction. Hailing from his 1997 release, Deconstructed, the mysterious tune might seem oddly familiar. “Steve wrote an entire album of melodies over the changes of existing jazz standards,” Scofield explains, “and this one is on the changes to ‘Perdido.’ We take it at a breakneck pace. It’s bebop for 2003, but very much rooted in the tradition.”

Scofield’s 16-year-old son Evan provided the oddly poetic title of “Hammock Soliloquy,” which rocks back and forth between a slow Stewart strut and a breezier uptempo beat. ’"I played him a rehearsal tape of this, and right away he said, ’Hammock Soliloquy." The quirky title deftly combines a Shakespearean reference with the to-and-fro rocking of the composition — poetic indeed.

The next tune ‘Bag’ is a rollicking blues. “Swallow started calling Bill ‘Bag’ a long time ago,” Scofield says. “I’m not sure why, except maybe that Bill’s suitcase is always a complete wreck, and Swallow’s is always pristine.” Since Stewart was the one who reminded Scofield of the tune (written in the earliest years of their collaboration), the guitarist felt it only fair to name it for the drummer.

Scofield and his bandmates stretch out and intertwine with familiar grace and ease in “It Is Written.” The song spices up the set list with its perky rhythm and sophisticated chord progression.

Burt Bacharach and Hal David’s “Alfie” is a timeless standard. “It’s one of my favorite songs of all time, especially Dionne Warwick’s recording,” Scofield says. It’s really not so easy to improvise on, because the form is very long. It takes a special treatment; that’s probably why not so many jazz artists have played it." The ballad affords Swallow a breathtaking solo in the top range of his instrument, which lets him sound like the masterful guitarist he is.

The busy, bustling “Travel John” gives a sense of forward momentum with no time out to stop and catch your breath.

Finally, borrowing the same trick that Swallow used for “Name That Tune,” Scofield based “Over Big Top” on the bass line and rhythm of one of his own tunes — “Big Top,” from his 1995 album, Groove Elation. “I just had ‘Over Big Top’ written on the top of the lead sheet,” Scofield explains. The tune’s twangy melody and funky strut inspire Scofield to uncork one of his most unfettered solos, rousing the audience to its most boisterous reaction. Stewart’s rambunctious rhythmic displacements and ringing accents help end the set on a high note.

And in the end, that’s what EnRoute is all about: three musicians grooving in front of an enthusiastic audience and the special synergy that unfolds between them. “It’s impossible to judge your own work completely,” Scofield says, “but I think this is some of my best playing. We definitely hooked up as a group, and it brought us to places we don’t usually get in the studio.”

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ÜBERJAM BIO

It is a rare artist that can play more than one style of music with true fluency, virtuosity and sincerity. John Scofield can, and he proves it on his new Verve release, Überjam. The album finds him confirming his reputation as a peerless jazz guitarist, while making groove and jam-oriented music at the highest level.

Born in Ohio and raised in suburban Connecticut, Scofield took up the guitar at age 11, inspired by both rock and blues players. A local teacher introduced him to Wes Montgomery, Jim Hall and Pat Martino, which sparked a lifelong love of jazz. Sco soon attended the Berklee College of Music, later moving into the public eye with a wide variety of bandleaders and musicians including Charles Mingus, Herbie Hancock, Chick Corea, Joe Henderson, Billy Cobham/George Duke, Gerry Mulligan, McCoy Tyner, Jim Hall, and Gary Burton. In 1982, he began a three-and-a-half-year stint touring with Miles Davis. Scofield’s compositions and inimitable guitar work appear on three of Davis’ albums.

Scofield began recording as a leader in the late 1970s, establishing himself as an influential and innovative player and composer. His recordings-many already classics-include collaborations with contemporary favorites like Pat Metheny, Medeski, Martin & Wood, Bill Frisell, Government Mule, and Joe Lovano. Through it all, the guitarist has kept an open musical mind.

Signing with Verve Records in 1995, Scofield released Quiet in 1996, A Go Go in 1997, Bump in 1999, and Works For Me in 2000. With the help of bandmates Avi Bortnick (guitar), Jesse Murphy (bass), and Adam Deitch (drums), Sco adds überjam to his varied discography.

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.”

Scofield continues: “Avi Bortnick is a rhythm guitar master. Between the two of us, we cover just about everything a guitar can and should do. It’s hard to find a player who likes laying in the groove while I play endless solos! When Avi expressed an interest to get into sampling a few years back, I never realized that he would quickly turn into the electro-magician that he is today!” Bortnick was born in Israel and raised in St. Louis, Missouri. He attended the University of California, Berkeley, studied at the University of Sao Paulo, and later completed a graduate program in architectural acoustics at the University of Florida, Gainesville. In fact, Scofield had to steal him away from his day gig at a California-based architectural firm.

Of bass player Jesse Murphy, Scofield says: “Jesse is the most intuitive and like-minded bass player that I’ve played with in a long time. He is truly eclectic musically; he knows and appreciates so many different styles. He has the perfect temperament for a bassist — boundless energy blended with the directed focus of a traffic cop. That’s very hard to find and essential for a good band!”

When asked about the newest band member, drummer Adam Deitch, Sco says: “I’ve worked with all kinds of great drummers but I knew I found the right guy the first time I played with Adam. He’d been anchoring down the current version of the Average White Band, which tells you something about his groove. He throws ideas at you all night long.”

“We’ve had a great time playing for a broader and often younger audience with this material. They really know about music, they really listen, and their enjoyment is infectious. I get a real kick watching my audience dance while knowing that this holds up as jazz — it’s not just dance music.”

Scofield says that “the music on überjam may be the kind of music I feel most comfortable with. I started with jazz-rock 30 years ago and the great thing about this music is that it’s still evolving. When confronted with the ‘Who is John Scofield’ question, I like to oversimplify it by saying that ‘I like rock and jazz.’”

He continues: “Almost every interviewer asks me about my past experience with Miles Davis. I have to say that out of all the albums I’ve made, I think this is the one that Miles would have enjoyed the most. Miles’ spirit is in this music. He was always looking to take jazz to a new place.”

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

HOW I GOT FROM THERE TO HERE IN 704 EASY WORDS
(An Autobiography)

When I first got into jazz — around 1969, I came from playing R&B and Soul in High School. Jazz Rock was in its infancy stage and I was lucky enough to be around to experience the Golden Age of both Rock and Soul and see Jazz embrace that movement while I was trying to learn how to play straightahead Jazz. A lot of my early chances to actually gig were in various Jazz/Rock idioms. I got to play “real” jazz with Gary Burton and Gerry Mulligan but my real first “big time” gig was with the Billy Cobham/George Duke band. We got to play in gigantic concert halls and rock venues for excited people who were not necessarily jazz aficionados, but loved the music.

After that band ended, I stayed home in NYC and worked on playing acoustic jazz with my own groups and people like Dave Liebman. I also started an ongoing musical relationship with bassist Steve Swallow that continues to this day. As a jazz bassist and real songwriter (not just a composer) Swallow has influenced me as much as anyone.

In 1982, I joined the Miles Davis Band, answering the call of funky jazz once again. My stint with Miles made me sure that there really was a kind of music that was both funky and improvised at the same time.

After playing with Miles for over three years and making a few more records of my own, I hooked up with ex-P-Funk drummer Dennis Chambers, and we made a group that really utilized funk rhythms. Dennis and bassist Gary Grainger were masters of that “James Brown/ Earth Wind and Fire/ 70’s thing”. It was great having that underneath my tunes.

When I signed with Blue Note Records in 1989, I decided to explore more “swinging” avenues. I got together with my old Berklee School buddy, genius saxophonist Joe Lovano. We had a group and made three albums for Blue Note — four counting a bootleg from Europe — that are probably my very best “jazz” endeavors. Part of that can also be attributed to the magnificent drumming of Bill Stewart, who is as good a musician as I’ve ever met.

Then I felt the urge to get into a soul-jazz thing. I’d been really influenced by the music of Eddie Harris and Les McCann from the sixties. I invited Eddie to guest on the album Hand Jive. This was about the same time that Larry Goldings entered my music on Hammond Organ. With the collective possibilities of these musicians, I began to allow jazz to blend with New Orleans type rhythms to make the music groove.

Around this period, I also worked and recorded some with Pat Metheny — one of the great guitarists. He and Bill Frisell are my favorite guitar players to play with and listen to. But then there’s also Jim Hall and Mike Stern and Jim Hall and John Abercrombie and Jim Hall and Kurt Rosenwinckle and Jim Hall and Peter Bernstein… not to mention Jim Hall. And then there’s also Albert King and Carlos Santana and Tom Morello and all the other ones I can’t summon the names of right at the moment.

When I heard Medeski, Martin and Wood’s record “Shack Man”, I knew I had to play with them. They played those swampy grooves and had a free jazz attitude. These guys are serious conceptualists and are able to take the music to beautiful and strange places. I love what they did on AGoGo. In the last couple of years, I’ve heard some great young players that remind me often of what it is that I like so much about the music of sixties R&B.

Now I’m able to take that music and mix it with jazz all over again. I’m having more fun playing now than I ever have and I feel like I can finally really learn to play the guitar. Now, after having the chance to play with many of my musical idols — I’m getting inspiration from younger musicians. I’m as excited about writing and playing music as I ever have been.

— John Scofield