John Scofield at Boulder Theater, Feb. 27 [Review]
'Country For Old Men' delights fans of all ages
By Eric Frank
Tuesday, February 28, 2017
In my previous concert review for March Fourth!, I spoke of my desire to learn from the musicians I'm watching on stage. John Scofield and his band put on a clinic Monday night at the Boulder Theater. But let's back up a bit and begin with the opening act, Joey Porter's Vital Organ.
The band features Joey Porter (keys) and Garrett Sayers (bass), both members of hometown heroes, The Motet. Like many others in Boulder and Denver, I've been seeing Vital Organ for years now. Monday's ladies' night at the now defunct Quixote's True Blue (reborn as Be On Key's Psychedelic Ripple) will never be quite the same. But that spirit—and certainly the energy—were in full force on Monday night as the band railed through a classic Vital Organ set with precision, vigor, and driving funk.
A rousing instrumental rendition of Michael Jackson's "Remember The Time" saw drummer Daren Hahn and bassist Garrett Sayers in lock-step. Sayers never ceases to impress and he was (per usual) on-point throughout the night. Guitarist Dan Schwindt adds tasteful accompaniment, at one point capturing the entire crowd's silent attention during a decrescendo before the band again kicked into full force. And the guy on organ...? Yeah, he's pretty good too. Pretty damn good.
Joey's mastery of the Hammond organ and command of the band were on full display throughout the set while his songwriting ability shone equally bright during the closing number, "Crescent Roll". Joey Porter's Vital Organ was a great choice to open the night. Kudos, gentlemen.
Aaaaaaand then there was John Scofield.
The guy is just a beast. I'd say I'm biased because I've long been a fan of all things John Scofield; from his work with Miles Davis and George Duke (pure nastiness, below) to his recent collaborations with Medeski Martin & Wood and his Überjam band featuring drummer Adam Deitch. But bias aside, his mastery of the guitar and intense musical proficiency are undeniable. One doesn't reach legendary status by accident, nor does a legend have a so-so backing band.
Myself a drummer, I have long maintained that Bill Stewart is the most awe-inspiring percussionists to witness. This is another guy whose command over his instrument is beyond question. To play the drums warrants absolute control over one's body. Limbs must move both with and against one another simultaneously, and much time is spent in the deep recesses of one's own brain, training against conventional movement.
Drumming is a beautifully coordinated dance, and Stewart's "steps" are wholly original and immensely demanding. What may sometimes sound chaotic is, in reality, precision playing at the highest level. It's the Tasmanian Devil spinning wildly yet meticulously on a balance beam. The band is granted ample individual freedom, yet remains ultra tight. It is my belief that music can conjure telepathic communication between players and, if that holds any truth, Scofield's band seems able to silently communicate Shakespeare to one another. A Scofield audience witnesses a clinic in nonverbal communication, an ability that can take years or even decades for a musician to master. Pianist Larry Goldings and bassist Vicente Archer completed the foursome, both effortlessly exhibiting their time spent on their respective craft.
As the album title Country For Old Men and subsequent tour would suggest, the songs performed were classic country songs, re-imagined in an instrumental jazz and pure-Sco fashion. Tunes included Ray Charles' "Busted" (a personal favorite), Dolly Parton's classic "Jolene," George Jones' "Bartender's Blues" (originally written by James Taylor, as Scofield would inform us), two Hank Williams tunes, "I'm So Lonesome I Could Cry" and "You Win Again," an utterly beautiful version of Shania Twain's "You're Still The One," Cole Porter's classic "Don't Fence Me In," and finally, the widely covered and interpreted "Wildwood Flower," written by Buck Owens. Utterly transcendent.
Finally, the quartet would encore with "Wayfaring Stranger,” written by the Father of Bluegrass, Bill Monroe. All in all, it was a night of musical beauty, of instrumental prowess and nonpareil artistry. Sitting in the Boulder Theater's Golden Circle (the first 10 rows or so) offered an exquisite view of the contorted "Sco-face," which was as animated as ever. If you've never seen John Scofield in action, you're truly missing out on one of the world's great musicians. Don’t miss your next chance. Or the one after that. Or the one after that…
Special thanks to Doug Fondriest Photography.