JOHN SCOFIELD
SWALLOW TALES
ECM ✪✪✪✪✪
This may sound absurd, but John Scofield can seem like a musical version of Billy
Connolly. Not because of the Big Yin’s humour (although there is a little of that in
Scofield’s playing as he lets notes knowingly drop off or stumble) but because, like Billy, he excels at storytelling, taking you on a unique journey of detail and many arcs. Where better to hear him than in a trio scenario then, featuring bassist Steve Swallow’s compositions as an album’s foundation? There are nine pieces here, drawn from Swallow’s repertoire, with Scofield using a rich, cleanish humbucker tone. Ripe with broad dynamic and timbral variations there’s a mastery and confidence here. She Was Young opens the album and at nearly 10 minutes, the storytelling and the groove are amazing. Eiderdown grooves arguably harder, with some of the best guitar playing on the album. As for tricky changes, Radio is in Scofield’s words “ridiculously hard to solo on but I’ve known it for 40 plus years so no excuses.” It swings hard, changes are fast and the guitar playing is most arresting. Truthful and exposed, Scoey’s never sounded better.
and tapped chords of Tokyo Dream are in full view while his blazing legato lines and searing vibrato are superb. On Non Brewed Condiment his SynthAxe complements Kei’s keyboard flurries with energy and sympathy. Simply put, a great concert from one of the most unique guitarists of all time. and melodic interjections from Steve. Beyond The Call shows Howe’s folk-rock leanings with plenty of acoustics and bright-toned electric lines, and Love Is A River takes the listener on a journey with layered guitars that weave together. Sound Picture is rockier, with some intriguing chord changes and rhythms, while The Headlands is a great rock instrumental with arresting slide guitar. Album closer On The Balcony features some pretty mean riffing and melodic arpeggios. Stirring stuff! flatpicking superstar put together while in isolation, having taught herself how to use Pro Tools in the process. And what a project it is. She’s taken on a variety of different tunes, from The Stones’ She’s A Rainbow to The Grateful Dead’s Standing On The Moon, and liberally added her own countryinfused magic to everything she touches – just check out Something On Your Mind. It’s a mirrorball of an album, each track shining with inventive reinterpretation. She’s a mean picker, too; as Tommy Emmanuel recently noted, “Molly will kick your ass around the block and smile like an angel while she does it.” A truly beautiful album.