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CD |
| 4.201 Ft
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| 1. | Like A Child At Play
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| 2. | Cheek To Cheek
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| 3. | Vision Quest
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| 4. | Virgo
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| 5. | Round Midnight
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| 6. | Where Is The Love
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| 7. | Abstract Realities
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| 8. | Yum
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| 9. | A Work In Progress
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| 10. | Da At
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| 11. | Live And Learn
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Jazz
Stephen Scott piano, keyboards
Ron Carter bass
Victor Lewis drums
Steve Kroon percussion
Born in 1969 in Queens, NY, Stephen Scott started playing the piano at age 5. On high school, he was introduced to jazz and later took private lessons at Juilliard School. A recipient of a 1986 Young Talent Award from the National Association of Jazz Educators, he joined Betty Carter's band only a year later. "The biggest lesson I learned from Betty Carter was to challenge myself to be original", says Scott. "I started playing with her soon after my 18th birthday and found myself trying to play like my idols - like Wynton Kelly, Thelonious Monk, Kenny Kirkland, Mulgrew Miller. When it would come to the piano solo and I started to play like one of these giants, she would turn around with the mike in her hands and say: 'No, kid' (which was my nickname), 'be honest.' What she was trying to say was: Find your voice inside yourself. And I am still trying to do this."
Young Scott soon showed signs of greatness (Betty Carter: "He's a genius!") and was hailed as the most talented player of his generation. He worked with such as Joe Henderson, Jon Hendricks, Benny Golson, Craig Handy, Lou Donaldson, Branford and Wynton Marsalis and became a regular member in the bands of the Harper Brothers, Roy Hargrove, Ron Carter, Bobby Watson, Victor Lewis and - most notably - Sonny Rollins. In 1991, Scott made his debut recording on Verve, Something To Consider, followed by three more albums under his name and a trio album with Roy Hargrove and Chris McBride, Parker's Mood.
"Vision Quest," Stephen Scott's first recording for ENJA, presents the 29-year-old as an original successor of the great piano masters. "Monk is the foundation of most of my musical concept - clusters, and space, and all that stuff. And I like Wynton Kelly's swing feel, his ideas and how he deals with the beat." Assisted by Ron Carter and Victor Lewis, two of his famous mentors, as well as percussionist Steve Kroon (on six tunes), Scott delivered a great piano album that also showcases his talents on electric keyboards.
Stephen Scott
Active Decades: '80s and '90s
Born: Mar 13, 1969 in Queens, NY
Genre: Jazz
Styles: Neo-Bop, Post-Bop, Hard Bop
Another in the latter-day parade of tradition-respecting "young lions," Stephen Scott brings a formidable technique, some of Ahmad Jamal's locked-groove obsessions, and elements of Wynton Kelly, Bud Powell, and McCoy Tyner to his work. However, Scott showed he could expand beyond his neo-bop base on The Beautiful Thing, an album with pronounced Latin and soul-jazz tendencies on some tracks. He started piano at the age of five, and progressed rapidly to the point where he was taking private lessons at Juilliard at 12. Although grounded in classical music, Scott was also exposed to reggae and salsa on the radio, but wasn't introduced to jazz until his high school years (he gives saxophonist Justin Robinson the credit for that). By the age of 18, Scott was playing in the band of singer/talent scout Betty Carter, and soon began performing or recording with the likes of the Harper Brothers, Wynton Marsalis, Bobby Watson, and Bobby Hutcherson. Beginning in 1991, Scott turned out a steady supply of mainstream albums for Verve, using mixtures of fellow young lions and esteemed veterans like Joe Henderson, Ron Carter, and Elvin Jones as sidemen; and he also played on Henderson's 1991 commercial breakthrough, Lush Life.
---Richard S. Ginell, All Music Guide |
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