John Scofield - John Scofield

Label: ECM Records, 2022

Personnel - John Scofield: electric guitar, looper.

John Scofield, a glorious guitarist with a slightly twisty guitar sound and a language that often comes adorned with elements of funk, country and rock, has all the reasons to feel jubilant about his new recording. That's because this self-titled album is his first solo effort in a career spanning over half a century.

The chosen repertoire - five originals and eight covers - heralds new sonic directions (including traditional and rock n’roll songs), and the guitarist works his grooves and ambiences to great effect while adding some understated electronic manipulation. The recording initiates with Keith Jarrett’s “Coral”, whose relaxed 4/4 step includes an early overdubbed solo. The following step is a reworking of “Honest I Do”, an original collected out of his Grace Under Pressure album (Blue Note, 1992). Other standout tunes from Scofield’s pen are the cool “Elder Dance”, where he swings unabashedly with jazz n’ bluesy solos and opportune octave inflections; “Mrs. Scofield’s Waltz”, a lovable, gentle piece which first appeared on the superlative album Works For Me (Verve, 2000) with Brad Mehldau; and the fusion-laced “Trance De Jour”.

Both “Danny Boy”, a country/Americana folding whose soloing section is backed by loop waves, and “Junco Partner”, a 16-bar blues from Louisiana, are traditional numbers that show his love for American roots music. However, two of the most stirring cuts are interpretations of standards: “It Could Happen to You” and “There Will Never Be Another You” demonstrate Scofields’s unerring instinct to put his own soulful stamp in the traditional jazz language. Besides the marvelous improvisation, he spices up the former piece’s theme with nice glissandi, and finishes the latter with an awesome quirky chord. Conversely, “My Old Flame” doesn’t have the same impact as the other two.

The reading of Buddy Holly’s rockabilly number “Not Fade Away” comes etched with Americana inscriptions and round bending notes. Here, Scofield experiments a bit more with the sound, infusing muffled bass notes and cyclic funkified electronics. The record closes out with Hank Williams’ “You Win Again”, a leisure walk through the serene prairies of country music. With all these songs serving as a catalyst for the electric hooks and phraseology of the guitarist, this is a sweeping album with a wide range of flavors.

Favorite Tracks:
03 - It Could Happen to You ► 06 - Mrs. Scofield’s Waltz ► 08 - There Will Never Be Another You


Gregg Belisle-Chi - Koi: Performing the Music of Tim Berne

Label: Relative Pitch Records, 2021

Personnel - Gregg Belisle-Chi: acoustic guitar.

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Tackling the compositional intricacies of alto saxophonist Tim Berne on the acoustic guitar is definitely a huge challenge. But that circumstance didn’t intimidate the guitarist/composer Gregg Belisle-Chi, who, catching the excitement of Berne’s language, put his own artistic stamp on ten of his pieces. Due to the nature of his instrument, part of that language is retained and part is remodeled within new harmonic contexts. The album was mixed and mastered by David Torn, another guitarist and expert sound manipulator who knows Berne’s music very well.

With a memorable riff as an inspiration, “Chance” is soaked in brainy harmonic clusters at the same time that employs a combination of tense, spacious and dreamy tones. This piece was culled from Berne/Mitchell duo album Angel Dusk, just like “Reception” and “Starfish Blues”. The former boasts a melody that speaks for itself, while the latter takes the blues to another dimension. Yet, it doesn’t match the exquisiteness of “Middle Seat Blues”, which evolves beautifully until it reaches a grandiose, final climactic chord that is complemented with a trio of tapped harmonics.

Feeling more overtly abstract and ruminative, “Giant Squids” employs logic pointillism, metric complexity and staccato brilliance over the course of its labyrinthine path.

Huh/Brokelyn”, retrieved from Hardcell’s 2005 album Feign, flows with incredibly affable melodies and chords that explore tone and drama with a sense of mystery, whereas “Huevos”, the opening piece of the 2002 Science Friction album, exudes a subtle sophistication affiliated with both erudite classical musings and contemporary tone poems.

In a coruscating positive form, Belisle-Chi often crosses the line between instinctive delicacy and bemusement. It’s all done architecturally and with honesty.

Grade B

Grade B

Favorite Tracks:
01 - Chance ► 05 - Huh/Brokelyn ► 06 - Middle Seat Blues


Cameron Mizell - Memory/Imagination

Label/Year: Destiny Records, 2017

Lineup – Cameron Mizell: guitar and effects.

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After the enjoyable Negative Spaces (Destiny Records, 2016), recorded with his trio mates Brad Whiteley on keyboards and Kenneth Salters on drums, American guitarist Cameron Mizell deliberately plunges into experimental waters to explore a giddily new universe, Memory/Imagination, a solo improvisational effort that reflects on the fight for social justice in America.

Employing a geometric disposition of sonic layers to form contemplative neo-folk sceneries, the title track opens the record with dreamy tones, overlapped phrasing, and scrupulous electronics. A fine balance was achieved between the acoustic and the electric perceptions.

With the climate change in mind, the guitarist delivers “Melting” as an opaque, static exercise seated in an infinite drone whose relentless frequency serves as a pointer for extemporaneous adventures. This weird oscillation between the spacious and the spectral is felt even harder on “We’ll Find Our Way Out of This Mess”, which starts like an innocuous meditation but grows into an intimidating, feverish dream as the time passes. Somehow, the final section reminded me of the dark textures so characteristic in some of the works by the bassist Bill Laswell.

Sounding like a topsy-turvy version of “Happy Birthday”, “Toast” could play a valuable role in an eerie indie film due to its nebulous contortions. Also very cinematic and equally depicted with shades of noir, “A Turning Point”, creates a scenario dominated by delaying propagation waves, percussive tic-tacs, and jazz-blues axioms. Despite explorative, it is probably the most orthodox piece in this recording.

Mizell’s pinpoint control of the guitar is patented on “Vulnerabilities”, a sort of requiem that boasts a beautiful acoustic sonority in its intersection of effulgent fingerpicking and open chords. I can almost hear a touch of gypsy lament among the melodious, yearning folk chops. It differs from the static composure of “The View From Above”, where the guitarist counterpoints shrill-note pointillism with the shrewd work done at lower registers, letting the hope hovering in the skies.

Skillfully pairing controlled abstraction with American roots, Cameron Mizell probes new conceptions for his musical creativity, stepping on offbeat yet appetizing territories.

       Grade A-

       Grade A-

Favorite Tracks:
01 - Memory/Imagination ► 05 - Vulnerabilities ► 07 - We’ll Find Our Way Out of This Mess


André Matos - Múquina

Label/Year: Robalo Music, 2017

Lineup - André Matos: guitar.

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Portuguese guitarist André Matos has been a regular presence on the ‘scene’ since he moved to New York in 2006 after graduating from the New England Conservatory.
He thenceforth had the chance to record/perform with illustrious musicians such as Tony Malaby, Thomas Morgan, Leo Genovese, Jacob Sacks, Billy Mintz, Noah Preminger, Colin Stranahan, and Masa Kamaguchi, just to name a few.

After last year’s All the Dreams recorded in duo with his wife, the vocalist and composer Sara Serpa, he’s back with an intimate solo album entitled Múquina, released on the Portuguese label Robalo Music.

With an enveloping sound modulated by gorgeous effects, Matos begins the harmonious journey with the title track whose soft textures and pacific sound waves are comforting and moving. 
Força da Natureza” is made of the same nature but more verbalized, showcasing the sturdy technique of the guitarist.

My favorite track, “Malé”, is a hypnotic piece that flourishes with transcendent beauty, intriguing surroundings, and a bit of sadness. The emotion rises with the ascendant harmonic movements of the incisive finale.
Five of the fourteen tracks last less than two minutes, working as interludes. “MA” is one of the strongest, feeling like a lullaby whose passionate lyricism carries pronounced folk influences. The low-pitched drones of “Baixo Alentejo” are joined by sharp melodic contours, creating uncanny vibes that feel no less cinematic than the loose “European Film Scene”. Disruptive silences widen the space and deepen the scenario.

While “Horizontais” feels like a minimalistic exploration, “Cavalos Selvagens”, an old tune that actually gallops in its start, gets a more cerebral and less experimental approach than at other times.

The homogeneous Múquina glitters with lush, slow-motion soundscapes. The airy, meditative moods take us to a lenitive universe that opposes to the tense times living in the present world. Once there, you’ll find glimpses of Bill Frisell and Terje Rypdal, as well as pure reflections of Matos’ peace of mind.

         Grade A-

         Grade A-

Favorite Tracks:
01 – Múquina ► 04 – Malé ► 06 – Baixo Alentejo