John Scofield
Quiet

THE REVIEW

How could Jovanotti ever look in a Tuxedo? And Salvatore Accardo with Laurie Anderson's electric violin?

Well, sometimes things mix in unpredictable ways, and in this album, John forgoes his signature Ibanez guitar, his unique and recognizable tone, typical of all his recordings, halfway between clean and saturated, as well as the “fast runs,” “licks & tricks,” and the classic repertoire of the “jazz guitar-hero.”

He relinquishes in favor of a classical guitar with orchestral background and classy arrangements, crafted together with his buddy Steve Swallow, who greatly contributes to the apparent success of a work that could have been a leap into the unknown if poorly managed. Introduction with
1) “After the fact,” which takes us to a mixed atmosphere between the beaches of Bahia and “Birth of the cool.” “Strange but true,” as from the usual Settimana Enigmistica. Swallow's bass and Bill Stewart's drums with Duduka Da Fonseka's percussion support “alongside,” while the orchestra, which is just a seven-member brass section, counters here and there based on the established scores. Steve's lyrical and simply enjoyable solo. With
2) “Tulle” we are directly only in Bahia, with no kind of “coolness.” The classical guitar is well-rendered and prominently featured, easily identifiable. The big issue of recording an album with such an assorted instrumentation is that indeed a classical guitar, compared to the global monster constituted by the brass section and the rhythm, with two percussionists, might get lost in the mix or at least lose punch (limited dynamics available).
3) “Away with words” reveals how much Scofield and Metheny have in common (a lot), not only as humans and as spokespeople of an entire generation of contemporary jazz musicians. At a certain point, a sax enters that's as recognizable as can be (Wayne Shorter) and everything remains just below, with enormous respect for the delicate conversation between sax and guitar. Every note played by Shorter in this solo is to be savored and related to the following solo by Scofield, who responds like a dialogue between old friends under the porch. Shorter resumes for an example of elegance and good taste.
4) “Hold that thought” features a good “call and response” dialogue between guitar and orchestra, always within the limits of a dynamic that doesn't overturn the atmosphere of quiet intimacy to which the entire work is imprinted.
5) “Door 3” plunges us onto the dance floor with a slightly moved samba but very characterized by the absolutely unusual chord sequence in the genre. A very intelligent piece. Another cameo by Shorter, who phrases in his manner, initially with short exits and then with open and free phrasing. Resumption of the theme of the guitar and moving towards the exit.
6) “Bedside manner” brings us back a bit to the compositions of Oliver Nelson (by the way: “The blues and the abstract truth,” “Sound pieces…” should we talk about them? Better: let's buy them!) very composed and in line with the rest of the album. Enormous arrangement work.
7) “Rolf and the gang” is a more lively and swinging piece; necessary for the global economy of the album. Swallow produces one of his characteristic solos, where he plays the bass almost as if it were a classical guitar. Note how much Steve cares about his personal timbral signature: the sound of his bass is very peculiar and recognizable after three notes; only a bassist knows how difficult it can be to find your own sound on an instrument unjustly considered “simple.”
8) “But for love” does not add or take away anything else from what has been said: it is a beautiful piece full of pathos on a medium tempo. Another intervention from the wizard Shorter.
9) “Away” closes the work with quiet poetry. Again here, the disturbing and heavy influence of Pat Metheny comes to mind, a dear friend and colleague of Scofield. Who nevertheless reshapes the material with his hands to make you half-close your eyes, smile, or cry depending on how you feel tonight.

Music comes before anything else, even before breathing. This album is a beautiful testimony to it. Anyway, I could perfectly see Accardo with the electric violin, and sooner or later Lorenzo Cherubini will wear a tuxedo; just wait. Let’s just stay “QUIET”!!!