Acoustic genius from John Scofield

Quiet (Verve)

John Scofield is an electric guitarist of staggering virtuosity. On his latest album, however, Scofield turns in his steel strings for a classical-style guitar. The results of the exchange are spectacular; though Scofield has pulled the plug, the electricity remains.

Quiet

Quiet features Scofield on nylon-string acoustic guitar, Wayne Shorter on tenor saxophone, and Steve Swallow, BK '62, on bass. A sextet of reeds and brass provide a fitting background for the soloists, one that evokes Gil Evans' orchestrations in its richness and tone.

Scofield's arrangements are skillful throughout the record; ensemble and soloist complement and build on the other, and the result is nine cuts (all but one composed and arranged by Scofield) that elicit beautiful meaning from the word Quiet.

From the first notes of "After the Fact," Scofield's acoustic debut is a success. Etching elegant runs over a layered background, Scofield tightens the tranquil opening bars to build an intensity that persists for the remainder of the piece. "Tulle" is next, a bright samba propelled by Duduka da Fonseca's masterful drumming; Scofield's guitar work is fluid and lyrical.

Wayne Shorter adds his inimitable sax style to the mix on "Away With Words," "Door #3," and "But For Love," all composed especially for Shorter. With the addition of a more assertive tenor-sax tone, the album attains a new level of excellence. Scofield no longer shoulders alone the responsibility of stating and restating theme and is freed to wander. His solos become broader in scope, their melodic intent driven home by each of Shorter's improvisations.

Shorter's tenor playing on Quiet is remarkable. The silver soprano tone for which he is most famous is modulated, almost quieted, when he plays the tenor. But his sound, which fuses the Eastern strains of John Coltrane with the melodic purity of Paul Desmond, is the same. His phrasing, especially on "Away With Words" and "But For Love," is exquisite, his tone in the upper register is clear and joyful.

Scofield

Scofield's choice of Quiet as an album title is apt; there are no signs of pyrotechnic riffs or raucous percussion here. The lack of volume, however, is outweighed by the unsurpassed caliber of the record's musicianship. Scofield's solos are meditative but never mechanical, as though he has chosen each note with the greatest of care. Meanwhile, Shorter and the rest of the album's cast provide scintillating support. Scofield is one of jazz's most accomplished and versatile guitarists. Listening to him prove it here is a pleasure, pure and simple.

--Trevor Merrill