John Scofield
Still Warm

How to find the simplest and clearest way to define and classify Scofield's music?
Perhaps boldly, and putting in all the effort and mental strain possible, one could compromise with the term
"funky/rock-jazz with a lot of sharp acidity". Let's reduce it all to the label "psychedelic jazz", just to be neologists.
And this album is so, so psychedelic!

When you listen to Scofield, you immediately get the impression that the standout is that sparkling frequency that emerges from the rest of the ensemble with exuberant and confident brilliance, so acidic indeed: the guitar of this genius from Ohio is simply Lady, and the band is required to gently support its path, or better yet (the term gentle isn't the happiest choice for now) coddle the leader in all his actions. Even when you encounter titles like "Rule of Thumb" (just so you know "the 5"), and the excitement is strong because you think you are facing a piece written specifically for bass (and considering the atmosphere of the album up to this point, you would indeed be pleased), you find yourself once again in the grip of our dashing young man's Ibanez, and you tell yourself that perhaps you've made a blunder. (Then you get to think that after all, the bass slaps - albeit very calmly - in much of the piece, so the title isn't all that misleading after all...).

But let's go in order.
We were talking about the sharpness of this album and, even if you don't want to believe it, "Techno" sweeps away any doubt: you're struck because you simply can't make head or tail of it! It's the kind of tension that makes you think being on a crane 10 meters off the ground would make you feel less suspended. But John's guitar dominates you to the point of rendering you powerless.
In the title track, perhaps (with much skill) some of that sweetness we previously omitted can be found: indeed the tones calm down and the pads are no longer so mischievous. Scofield obviously doesn't relent: not even more "accessible" and light melodic lines manage to corrupt his style, which seems as intense as a glass of barbera.

It’s followed by "High and Might", perhaps the lightest track to listen to in the album: the harmonies decrease significantly, and you no longer feel so suspended, but everything is so pleasant it could be listened to even distractedly in the car. Something I could never say about "Protocol". In this case, the harmonies are even muted: the expression of the song is entirely entrusted to the solos and to a relentlessly a-melodic theme. You must silently take the hit, but then there's "Rule of Thumb", which I didn't mention as being very relaxing.
The penultimate track, "Picks and Pans" prepares you for a grand finale: once again acidic colors for a distinctly rock rhythmic section.
And the grand finale comes with "Gil B643", which I personally love. Intriguing. As usual, labels don't come to my aid, but I would define this piece as sharp as a diamond.

Yes, great album. Is there any point in adding that it was produced by one Steve Swallow in 1986? Even this last piece of information seems superfluous. Still Warm is practically timeless music, with no ifs or buts.
From the first notes, we have seen the reverence owed to this mega-star.
Is it worth recalling his origins alongside Gary Burton, Mulligan, Cobham? and of course, Miles, who still deserves to be mentioned.
It's appropriate to also mention Don Grolnick for the harmonic textures we've seen emerge from his keyboards, Darryl Jones and Omar Hakim, respectively bass and drums: a quartet, it seems, perfectly functional to bring out all the solo spirit of this album, which even in small parts is never obscured.

Passed with flying colors!