It was at a small Japanese restaurant north of Boston (or south of Concord, New Hampshire, depending on your level of Hub-centricness). Sushi. Never had it before. You read about things like this for years. Suddenly, it's your turn. Step right up, it's time to end the mystery. Tuna, soy, wasabi, ginger...it was some far-east alchemy. Less than a second into the experience and my happy palate knew that something new and wonderful had been 'discovered'.
Night, under a bridge on the banks of the Kennebec river in a central Maine town. A high school adventure. My friend Andrew has a bottle of Guinness Stout. One swallow and...hmmmm....roofing tar with slight coffee notes. Good thing it was dark outside. I bet my face twisted up, as we liked to say, "somethin' awful". Since I now consider the dark brew from Ireland a magical thing, I can only look back at my young self and think, "Well, maybe that's what you get for tryin' stuff like that at the age of sixteen!"
And speaking of magical beverages: in the living room of a close friend's home in rural Vermont. Scotch. Laphroaig, to be specific. Mmmmm....the smokiness, the complexity. I'm hooked right from the start. Part of me is a little embarrassed for smugly looking down my nose all those years at snooty movie and television characters pouring themselves a glass of something amber from a swanky crystal decanter. Am I snooty now?
Scenario #4. It hasn't happened yet. It involves fois gras. Sorry, I'm just not interested. My mind is closed on this one. Yes, I've heard all about the velvety texture and the supreme flavor. No. I've never been keen on liver-y things..and then there's the 'how' of fois gras. Icky.
Sushi. Stout. Scotch. Fois Gras: acquired tastes. This description, obviously useful when getting at food adventures, is also handy in the world of music. Acquired tastes? There are plenty of them. Ornette Coleman. Anthony Braxton. Sun Ra. Philip Glass. Cecil Taylor.
But...John Scofield? He's just a jazz guitar player. Is he that far up on the quirk scale? Yes and no. What most folks seem to object to is the tone of his guitar. Sco's torqued and phase-washed sound is far removed from the purity of a Jim Hall or a Wes Montgomery. Still, it's his chosen voice, just like the funk-edged music he comes up with.
Article comments
1 - godoggo
I luv Sco. I've noticed his tone changes quite a bit from recording to recording. I'm not sure if it's his playing that changes or the recording or both. For example I have this Ray Anderson record called Blues Bred in the Bone (worth maybe 3 stars all around) where he has this huge juicy bluesy tone. Wish he sounded like that all the time. I liked his playing on Joe Henderson's So Near So Far a lot a lot.