John Scofield
Uncle John’s Band

John Scofield guitar
Vicente Archer double bass
Bill Stewart drums
Recorded August 2022 at Clubhouse Studio, Rhinebeck, NY
Engineer: Tyler McDiarmid
Cover photo: Fotimi Potamia
Executive producer: Manfred Eicher
Release date: October 13, 2023

Since entering the JAPO sublabel on Peter Warren’s out-of-print Solidarity in 1982, guitarist John Scofield skipped between ECM and its sister imprints for decades as a sideman. And while he has only begun headlining sessions for producer Manfred Eicher in the present one, his storied discography on Verve, Blue Note, and elsewhere leaves indelible fingerprints across the fingerboard in this laser-focused studio outing with bassist Vicente Archer and drummer Bill Stewart. Their interactions are as varied as the tunes from Scofield’s pen that activate them, and his chosen points of contact from a wide swath of the American canon only make their energy that much more electric.

Speaking of Scofield’s writing, of which this two-disc album gives us seven substantive examples, we can hardly encounter it without marveling at the vivaciousness he brings to every turn of phrase. Whether in the folkloric delicacy of “Back In Time” or the tongue-in-cheek virtuosity of “The Girlfriend Chord,” he never backs down from the opportunity to tell a meaningful story—nowhere more so than in “Nothing Is Forever,” a tender yet muscular tune dedicated to his son, Evan Scofield, who died in 2013 at the age of 26. Whatever the shade, he lets his expressivity chart its own path.

Toing the line between funk and swing, “Mask” (a reference to the pandemic) welcomes the listener with its headnod-worthy goodness. Masterful playing all around heightens the trio’s cohesion as a unit. “How Deep,” a standard 32-bar jazz, also swings with consummate intuition. Its nostalgic sound finds kindred vibes in “TV Band,” which finds the composer in a guttural mode, with a touch of country twang for good measure. His guitar stays crunchy even in milk, giving us one burst of flavor after another. Finally, “Mo Green” expands his older original, “Green Tea.”

Although Archer and Stewart shine throughout, they are particularly brilliant in their take on Bob Dylan’s “Mr. Tambourine Man.” Anchored by a cycling guitar loop, the album opener takes its time to build, locking step before veering into unexpected directions. Only when the bass solo brings a hush to the scene do we remember that the looping guitar has been going all along. In addition to effortless readings of “Budo” (Miles Davis), “Ray’s Idea” (Raymond Brown), and “Somewhere” (from Leonard Bernstein’s West Side Story), Scofield shines in his playful rendition of Neil Young’s “Old Man,” a song he now relates to in an experiential way. Even the standard “Stairway To The Stars” seems as though it were written yesterday. In addition to its loveliness, the engineering is superb (Stewart’s brushes sounding especially lucid and present).

All good things come to an end with the title track. This Grateful Dead classic shows the trio in their finest hour. “I love playing this way with Vicente; he knows what to do, as does Bill,” says Scofield in the liner notes. “I feel like we can go anywhere.” And with all the fresh, chameleonic goings on here, it’s hard to disagree.

John Scofield

John Scofield electric guitar and looper
Recorded August 2021
Top Story Studio, Katonah, NY
Engineer: Tyler McDiarmid
Mastering: Christoph Stickel
Cover photo: Luciano Rossetti
Executive producer: Manfred Eicher
Release date: May 6, 2022

John Scofield’s latest for ECM features a set of solo guitar tunes backed by a looper, which he uses to establish progressions and contexts for his adroit picking. This long-awaited project, one that fans thought might never come, offers plenty of variety to meet that expectation. It all begins with a second-nature take on Keith Jarrett’s “Coral.” Launching into an improvisational spirit from the first breath and shifting into the melody only at the end, this interpretation features all of Scofield’s hallmarks: forthright expression, clear lines, and enough rough edges to guarantee authenticity. This is edible music.

Among all that follows, my ears are drawn immediately to Scofield’s originals. From the finely sculpted “Honest I Do” and the more whimsical “Since You Asked” to the emotionally charged “Mrs. Scofield’s Waltz,” he proves an uncanny ability to unravel moments of life into stories with beginnings, middles, and endings. The bluesy “Elder Dance” is a highlight. Scofield’s description says it all: “I picture older people (like me) doing a kind of lindy hop. I can picture it but I can’t do it.” This and the vibrant “Trance du Jour” make their recorded debut. Both are genuine pleasures to hear.

“It Could Happen to You” is the first among a handful of jazz standards. While recognizable from the start, it adds Scofield’s idiosyncratic touches, by turns fluid and angular. Even “Danny Boy” feels spontaneous in his brilliant hands, while the prison song “Junco Partner” bows its head in honor of the wrongfully incarcerated. Whereas “My Old Flame” and Buddy Holly’s “Not Fade Away” favor message over medium, others, like “There Will Never Be Another You,” add new levels of interest to the tried and true. We end with the Hank Williams classic, “You Win Again,” speaking in the language of experience.

Despite my appreciation for all that transpires here, this isn’t my favorite of ECM’s 2022 releases. Scofield is, of course, a master who could sound like no one but himself. And while I dig the easygoing, unrushed quality of the playing, I find relatively little to chew on in the standards. On the other hand, there’s plenty to enjoy in Scofield’s originals, which gift these ears with fresh, honest sounds. I just wish we’d been given nothing but, especially for a self-titled record from an artist whose contributions to the art of jazz are every bit as flavorful as the old chestnuts he has roasted here. Many will disagree with this assessment, so don’t let me discourage you from enjoying an album that might very well grow more than show.