John Scofield Groovy Enroute 'Enroute' album

It's a frigid December night during the coldest winter in recent memory. Entering New York City's Blue Note jazz club, you pass through the darkened foyer, proceed through the bar and settle at a table in front of the narrow stage. The lights dim. "Ladies and gentlemen," the announcer says, "please welcome the John Scofield Trio!"

Suddenly, the cold weather outside is a distant memory, chased away by the heat generated by three great musicians hitting their stride. Old friends and longtime musical partners, guitarist John Scofield and his trio mates-bassist Steve Swallow and drummer Bill Stewart-are aglow with camaraderie and spontaneous invention. The three throw off sparks as they bob, dip and weave through a tightly knit set of jazz standards and savvy original compositions. More than just a collection of tunes, the trio is playing music that embodies the spirit that has kept jazz vigorous and visceral since its birth.

Hundreds of fortunate music fans, residents and visitors alike shared this experience when the John Scofield Trio played that week in December 2003. If you were there, you'll always remember it. And happily, Verve Records was there as well, preserving the experience for posterity as EnRoute, Scofield's seventh Verve release.

Previously recorded outings by Scofield have found him performing in elaborate settings. His works range from the plugged-in, electronically tweaked jamming of his last Verve release, Up All Night, to the full orchestral setting of the recent Scorched, a collaboration with British composer Mark-Anthony Turnage issued earlier this year on the venerable classical imprint, Deutsche Grammophon. But for EnRoute, Scofield wanted to focus on the high-wire interaction of a small, closely knit band in the heat of a live setting. He arrived at the Blue Note armed only with his trusty guitar, amp and whammy pedal, and left his more elaborate electronic gear at home.

"I wanted to make a real jazz-improvising statement in a live situation with two of my favorite musicians," Scofield says. "It's really challenging. You don't rely on arrangements as much as on the way the group plays together. You don't rely on anything other than good playing, and you know there's no lifejacket or safety net involved. That doesn't happen as often in a studio setting: I think the big difference is the audience. There is a symbiotic affinity between the artists and the audience that makes for something special."

Scofield wanted EnRoute to document the flow of a typical live set on a hot night. For jazz buffs, that's precisely why the live trio record stands as one of the purest representations of the art form. He's quick to name his own favorites: "Bill Evans' [Sunday] at the Village Vanguard is one that I like a lot. Sonny Rollins' A Night at the Village Vanguard, Jim Hall's Jim Hall Live!, and John Coltrane, Live at the Village Vanguard: On 'Impressions' and 'Take the Coltrane,' there's no piano, so it's a trio-and those are sides that changed my life."

On EnRoute, Scofield proves that he, too, has mastered the art of constructing an exceptional live document. In one sense, the album turns the clock back to the formative years of his long, illustrious career as a bandleader: two early live trio albums, Shinola and Out Like a Light, were also recorded during a week of December performances, back in 1981. "I remember being a lot more uptight when I played back then!" Scofield recalls with a laugh. "Now, I'm just able to embrace the moment more and enjoy it. I really had a good time making this record."

Scofield has come a long way as a player and leader since those early years, but one thing that EnRoute has in common with those early dates is Steve Swallow. "There is no other man like him in music," Scofield says with genuine admiration. Not only does he play like an upright player-like the great, seasoned jazz veteran that he is-but he's also an electric bassist who can play chords and solos like a guitarist. He adds that whole other element; what we can do is so strong harmonically."

Drummer Bill Stewart, the third side to the triangle on EnRoute, has also logged many miles with Scofield, having first played with the guitarist some 14 years ago. "I think he's playing as good as any drummer in the history of jazz," Scofield states. "Bill knows everything that I'm playing harmonically, and with that understanding, he responds to what Steve and I play in an incredibly musical way. And also, he's got great time: His inner clock is set and it does not move!"

Stewart's rock-steady pulse and unique rhythmic conception are readily apparent from the opening bars of "Wee," the Denzil Best-penned bop standard that opens EnRoute. "We got into playing this tune years ago because Bill plays a fantastic beat on it," Scofield explains, "and the way Steve breaks it up on bass, no one plays like that. It's a jazz tune and it's swinging, but it's grooving in another kind of way, too. I wanted to start the album with this because it's so happy, and also because the way these guys play it is so unique.

"Toogs" was inspired by the two miniature dachshunds that guard the Scofield home. "'Toogs' stands for 'two dogs,'" he explains, somewhat sheepishly. The generous, loping melody paints a scene of domestic bliss. Midway through, however, Scofield and Stewart launch into a heated exchange more than slightly reminiscent of Coltrane and Jones's legendary duels, while Swallow settles into a backing vamp. "It starts as this pretty little thing," Scofield says, "and then there's a dogfight at the end!"

The third selection, "Name That Tune," is a timely reminder that bassist Swallow is also a composer of distinction. Hailing from his 1997 release, Deconstructed, the mysterious tune might seem oddly familiar. "Steve wrote an entire album of melodies over the changes of existing jazz standards," Scofield explains, "and this one is on the changes to 'Perdido.' We take it at a breakneck pace. It's bebop for 2003, but very much rooted in the tradition."

Scofield's 16-year-old son Evan provided the oddly poetic title of "Hammock Soliloquy," which rocks back and forth between a slow Stewart strut and a breezier uptempo beat. '"I played him a rehearsal tape of this, and right away he said, 'Hammock Soliloquy." The quirky title deftly combines a Shakespearean reference with the to-and-fro rocking of the composition-poetic indeed.

The next tune 'Bag' is a rollicking blues.? "Swallow started calling Bill 'Bag' a long time ago," Scofield says. "I'm not sure why, except maybe that Bill's suitcase is always a complete wreck, and Swallow's is always pristine." Since Stewart was the one who reminded Scofield of the tune (written in the earliest years of their collaboration), the guitarist felt it only fair to name it for the drummer.

Scofield and his bandmates stretch out and intertwine with familiar grace and ease in "It Is Written." The song spices up the set list with its perky rhythm and sophisticated chord progression.

Burt Bacharach and Hal David's "Alfie" is a timeless standard. "It's one of my favorite songs of all time, especially Dionne Warwick's recording," Scofield says. It's really not so easy to improvise on, because the form is very long. It takes a special treatment; that's probably why not so many jazz artists have played it." The ballad affords Swallow a breathtaking solo in the top range of his instrument, which lets him sound like the masterful guitarist he is.

The busy, bustling "Travel John" gives a sense of forward momentum with no time out to stop and catch your breath.

Finally, borrowing the same trick that Swallow used for "Name That Tune," Scofield based "Over Big Top" on the bass line and rhythm of one of his own tunes-"Big Top," from his 1995 album, Groove Elation. "I just had 'Over Big Top' written on the top of the lead sheet," Scofield explains. The tune's twangy melody and funky strut inspire Scofield to uncork one of his most unfettered solos, rousing the audience to its most boisterous reaction. Stewart's rambunctious rhythmic displacements and ringing accents help end the set on a high note.

And in the end, that's what EnRoute is all about: three musicians grooving in front of an enthusiastic audience and the special synergy that unfolds between them. "It's impossible to judge your own work completely," Scofield says, "but I think this is some of my best playing. We definitely hooked up as a group, and it brought us to places we don't usually get in the studio."

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