JOHN SCOFIELD
That's What I Say

Verve

Say whatever you like about John Scofield, he knows how to throw a hell of a musical bash every time he goes into the studio. In the last several years he’s gone from the groove and loop-infused jams of Uberjam and Up All Night, through the amazing quartet project ScoLoHoFo, a live recording, EnRoute, with his trio, and now That’s What I Say, on which he interprets the music of Ray Charles. It’s a sensible and smooth move, because Scofield has established himself as a superlative groove guitarist with a younger audience than a musician his age would normally command. So why not tackle real, gritty R&B and soul, part of the wellspring that begat rock and roll as well as soul jazz and other offspring?

To undertake this roots-searching production, Scofield brings along keyboardist Larry Goldings, with whom he has worked frequently in the past, veteran studio bassist Willie Weeks, and drummer Steve Jordan who has worked with a host of musicians as diverse as Bob Dylan and P-Funk’s Berne Worrell, and who wears his producer hat on this disc as well. To this he adds a series of guest performances that help enhance the overall experience. After opening with a version of “Busted” featuring only Scofield, Goldings, and Jordan, Sco brings in tenor saxophonist Alex Foster, tumpeter Earl Gardner, bari sax player Howard Johnson, and trombonist Keith O’Quinn to flesh out the number. David “Fathead” Newman is also featured on tenor sax, along with guest vocalists that include Dr. John, Warren Haynes, John Mayer, Aaron Neville, and Mavis Staples.

On “Sticks and Stones” the quartet of Scofield, Goldings, Weeks, and Jordan comes on like a cross between The Meters, a psychedelic jam band, and a roadhouse blues band. John Mayer joins on “I Don’t Need No Doctor” a Nick Ashford/Valerie Simpson composition that sounds good, though it seems somewhat like Scofield + John Mayer = Eric Clapton in some respects. But listen, if this track became a radio hit, it would certainly be one of the most tasteful things currently on the airwaves. Overall, Scofield and friends succeed admirably because they seem to be having a good time playing and singing these tunes, and they evoke the spirit of open-mindedness and adventurousness that Ray Charles had rather than sounding like him in any appreciable way. Mayer and Scofield play well together on their guitar duet here as well, even though it’s clear that Scofield could run technical rings around the youngster—the point here is to enhance the listener’s musical experience, and that they do enthusiastically.

A brief guitar/organ duet on “Cryin’ Time” leads into the album’s heart with the track “I Can’t Stop Loving You” performed by Mavis Staples. It’s the kind of late-career performance that makes listeners remember that this veteran performer still has her abilities intact. Scofield is very effective at providing complimentary (and occasionally surprising) guitar fills, demonstrating some real artistic growth. When Scofield played with Miles Davis he didn’t demonstrate the affinity for the blues that other Davis guitarists (Robben Ford, for example) display. It’s as though playing more harmonically & melodically simple electronica-driven music on recent projects and touring extensively with his band has brought the guitarist in touch with his musical roots in a very personal way. “Hit the Road” features Newman and the horn section again, as does the following track, “Talkin’Bout You/I Got a Woman.” The inclusion of Dr. John on the latter number instantly adds an instantly identifiable taste of New Orleans into the mix.

There may be those who will shake their heads at Scofield’s recording of this project, wishing he’d return to the more straight ahead jazz of last year’s EnRoute. That’s just crazy since Sco has demonstrated his ability to move effortlessly between styles and projects with no erosion of his abilities as a guitarist. Listen to his performances on “Unchain My Heart (Part 1)” and “Let’s Go Get Stoned” and all question of styles and genres disappear. Or check out the final rendition of “Georgia On My Mind” performed only by Scofield on acoustic guitar, with no overdubs. And don’t miss the ‘hidden’ track that follows, featuring a few more minutes of tight jamming from Scofield and the quartet.

The intention of That’s What I Say is to have a good time and to bring joy to the listener. Those who turned on to Scofield with Uberjam and Up All Night should pick this disc up and hear Sco re-interpret the roots of that later music. They might find that the groove has been around longer than they thought.