“Sounded fantastic!” joked Scofield as drummer Bill Stewart unexpectedly leaped off stage right after the trio began their performance. This playful interaction was typical of Scofield’s engaging stage presence, which was evident throughout the night with his clear and often humorous announcements. Stewart quickly returned, likely having fetched something from the green room, and the band launched into Blue Monk. This choice set the tone for the 70-minute set that followed, showcasing Scofield’s deep jazz repertoire—a blend of bebop, ballads, and occasional bluesy riffs, all infused with his signature abstract style. A notable moment was the return of Yawn, a poignant, harmonically minimal track from his Enja days (specifically from the 1981 album Shinola), highlighting the contrast between this performance and the lively jazz-pop show by Scofield’s Yankee Go Home band at the club last March.

Scofield has mentioned, “I think trio is always some of my best playing,” and the trio format indeed allows him to shine, although it also presents challenges in terms of filling space. Unlike Wayne Krantz, another guitarist with a similar style who often employs a more ensemble-like approach, Scofield’s single-line playing creates a palpable sense of space around his notes—especially noticeable during much of the evening’s music.

The minimalistic lineup allowed each member to stand out, particularly drummer Stewart, whose nuanced colorations and reactions were highlights throughout many pieces. Stewart’s kit was prominently positioned, with Scofield and bassist Vicente Archer almost in the background. Another standout moment was the Scofield coda, which often introduces a new level of excitement. Typically, it involves just a couple of chords and a solid groove, prompting Scofield to showcase his unique modal-soloing techniques, including his distinctive sideslips, diminished ideas, and unexpected bluesy expressions. The coda to the second piece, TV Band, an abstracted country-rock venture, exemplified this, as did the coda for Yawn, where Scofield’s artistry was particularly evident.

Other pieces performed included Little Willie Leaps, Naima, an unnamed freebop time-no-changes composition characterized by Tyner-like fourth chords, and a subdued, swampy 12-bar closing number evoking a misty Mississippi. The performance concluded with Scofield’s customary warm farewell before a lightly funky encore and a playful encouragement to “Drink up and be merry, it’s the weekend.” The following day featured a members-only brunch where Scofield conversed with John Etheridge, which surely provided fascinating insights.

The John Scofield trio – Scofield (elg); Bill Stewart (d); Vicente Archer (b) – at Ronnie Scott’s, London, 28 March 2025