JOHN SCOFIELD / BILL STEWART / VICENTE ARCHER
Cadogan Hall London - 16th May 2022
Cadogan Hall London - 16th May 2022
Support: Robin Nolan & Chris Quinn
For a guitarist, opening for John Scofield is both an honour and challenge. All the seats in the hall were not full, many sat out, waiting for the main event. Eventually, people drifted in to a set that was full of skill, joy and good communication. The highlight of the set was ‘Nuages’ a tribute to Django who, Page told us, this was an anniversary, Reinhart had died on 16th May 1953. There was a link and dedication to Beatle, George Harrison. Page often played at Harrison’s home and played an abstract version of ‘And I Love Her’.
Gypsy jazz is often rumbustious and so it was with a frantic version of ‘Sweet Georgia Brown’. Chris Quinn hammered out the rhythm with great zest and skill. Towards the end of the set there was even a reference to Deep Purple’s ‘Smoke On The Water’. By the close, Page had successfully convinced the audience that the music that was pioneered by Django was worthy of consideration in 2022.
Disappointing not to see and hear Steve Swallow, Vicente Archer took his place. Big shoes to fill but Vicente did not attempt to emulate the great man. He played bass throughout and mysteriously did not appear for the encore. His playing was unexceptional throughout except for one solo when he repeated one short phrase a number of times. The blend that Scofield has achieved with Swallow in the past sadly was not present.
Scofield calls on a wide range of jazz and American music. His steely tone improvisations can sound conventional but he can soar off rather like a Denny Zeitlin or occasionally Art Tatum on one of his complex runs. Some of his more daring leaps occasioned whoops of pleasure from the audience. Recently, Scofield has started to explore classic bop anthems and show tunes. Here we had a precise version of ‘Easy to Love’.
Scofield is a great guitarist and major artist. He can achieve masterful effects with ease. His considerable technique is saturated with country, bop, rock, blues. One highlight was Carla Bley’s ‘Lawns’ played with great delicacy and passion by Scofield. It is a great tune and hearing it played by this different group and different instruments reveals the strength and beauty of the piece.
Obviously, Bill Stewart is a drummer that Scofield admires. It was good that Stewart did not overpower the bass player and the guitarist. Good though Stewart is, especially in the context of a large group, does he contribute greatly to this kind of trio?
The absence of Steve Swallow, has altered the intricate internal balance. Swallow’s bass guitar in the past has gelled superbly with Scofield. Their intuitive rapport gave the trio an electric depth that was missed. The bass solos felt tacked on rather than being an integral part, as they are with Swallow.
Attending the concert shortly after hearing Scofield’s superb recent solo CD (ECM2727) suggests that working on his own might be a more satisfying way of showing his considerable skills.
Reviewed by Jack Kenny
For a guitarist, opening for John Scofield is both an honour and challenge. All the seats in the hall were not full, many sat out, waiting for the main event. Eventually, people drifted in to a set that was full of skill, joy and good communication. The highlight of the set was ‘Nuages’ a tribute to Django who, Page told us, this was an anniversary, Reinhart had died on 16th May 1953. There was a link and dedication to Beatle, George Harrison. Page often played at Harrison’s home and played an abstract version of ‘And I Love Her’.
Gypsy jazz is often rumbustious and so it was with a frantic version of ‘Sweet Georgia Brown’. Chris Quinn hammered out the rhythm with great zest and skill. Towards the end of the set there was even a reference to Deep Purple’s ‘Smoke On The Water’. By the close, Page had successfully convinced the audience that the music that was pioneered by Django was worthy of consideration in 2022.
Disappointing not to see and hear Steve Swallow, Vicente Archer took his place. Big shoes to fill but Vicente did not attempt to emulate the great man. He played bass throughout and mysteriously did not appear for the encore. His playing was unexceptional throughout except for one solo when he repeated one short phrase a number of times. The blend that Scofield has achieved with Swallow in the past sadly was not present.
Scofield calls on a wide range of jazz and American music. His steely tone improvisations can sound conventional but he can soar off rather like a Denny Zeitlin or occasionally Art Tatum on one of his complex runs. Some of his more daring leaps occasioned whoops of pleasure from the audience. Recently, Scofield has started to explore classic bop anthems and show tunes. Here we had a precise version of ‘Easy to Love’.
Scofield is a great guitarist and major artist. He can achieve masterful effects with ease. His considerable technique is saturated with country, bop, rock, blues. One highlight was Carla Bley’s ‘Lawns’ played with great delicacy and passion by Scofield. It is a great tune and hearing it played by this different group and different instruments reveals the strength and beauty of the piece.
Obviously, Bill Stewart is a drummer that Scofield admires. It was good that Stewart did not overpower the bass player and the guitarist. Good though Stewart is, especially in the context of a large group, does he contribute greatly to this kind of trio?
The absence of Steve Swallow, has altered the intricate internal balance. Swallow’s bass guitar in the past has gelled superbly with Scofield. Their intuitive rapport gave the trio an electric depth that was missed. The bass solos felt tacked on rather than being an integral part, as they are with Swallow.
Attending the concert shortly after hearing Scofield’s superb recent solo CD (ECM2727) suggests that working on his own might be a more satisfying way of showing his considerable skills.
Reviewed by Jack Kenny
