Tom Scott Albums (26)
What The Critics Say
The last 20 years of this legendary saxman's four-decade solo career have mostly featured fun and funky, energetic pop or smooth jazz dates, with one exception, 1992's straight-ahead date Born Again. Not surprisingly, despite all the solid work he's put forth during that time, that date is the only one that's been truly respected by traditional jazz critics. But now, making his MCG debut with Bebop United, Tom Scott makes a special return to his bebop roots on a live recording -- featuring cohorts like Randy Brecker, Gil Goldstein, and Phil Woods -- performed at the Manchester Craftsman's Guild in Pittsburgh in May 2002. The date is essentially Born Again fashioned for a live setting, but with the addition of Woods upon a recommendation from the Guild. Scott wrote special arrangements for their two altos on "Silhouettes," Chick Corea's "Tones for Jones Bones," and "Close View." For Scott, alternately blowing heavy and tapping into the subtleties of these eight pieces -- including three Scott originals plus classics from Wayne Shorter ("Children of the Night") and Cannonball Adderley ("Sack o' Woe") -- takes him back to his roots when he recorded two LPs for Bob Thiele's Impulse! label during the late '60s when he was only 19 to 20 years old. The gig itself grew out of a handful of dates he did with the Born Again instrumentation at L.A.'s Catalina Bar & Grill. The results are engaging all the way and are sure to please fans who have been dying for him to return to bop. The friends he made in his early L.A. Express days and from his years on GRP and Windham Hill Jazz should broaden their horizons and take a listen as well. ~ Jonathan Widran, All Music Guide
'New Found Freedom'
Release Date 10/22/2002
Tracks 10
Label Higher Octave
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What The Critics Say
Following two albums with a reconstituted L.A. Express, Bluestreak and Smokin' Section, Tom Scott returns to solo frontman duties on his Higher Octave Jazz debut, New Found Freedom, but he does so with a large number of guests. Those guests help broaden the styles of music available on the release, although Scott's own saxophone work remains a touchstone and everything on the disc will be easily programmable on smooth jazz radio. Indeed, the variety gives programmers many choices. Craig Chaquico, a fellow veteran of the 1970s rock scene and now a labelmate, joins Scott with some characteristic acoustic guitar work on the becalmed opener, "Feelin' It," after which adult contemporary singer Ann Nesby croons "You Are My Everything" while Billy Preston joins in on organ. Scott's taste for R&B and funk is on display on "(Don't You Wanna) Jam," which gives way to the more reflective "Can You Stand the Rain," spotlighting George Duke on acoustic piano. Another soulful number is an interpretation of Simply Red's "Holding Back the Years," and Daniel Rodriguez, the singing New York police officer who gained fame after September 11 (and whose debut album Scott produced) comes on for a thoughtful version of "Everything Must Change." This is a well-assembled collection of smooth jazz that will please fans of the genre and of Scott. ~ William Ruhlmann, All Music Guide
'Apple Juice'
Release Date 4/25/2000
Tracks 7
Label Sony International
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What The Critics Say
Although a bit streaky, this is one of Tom Scott's better recordings of the 1980s. A live set with guitarists Eric Gale (whose bluesy playing is a strong asset) and Hugh McCracken, keyboardist Richard Tee, electric bassist Marcus Miller, drummer Steve Gadd and percussionist Ralph MacDonald, Scott sounds fine when playing tenor, although his decision to use the anonymous-sounding lyricon on some numbers is a mistake. Also on the minus side are Dr. John's cameo appearance singing "So White and So Funky," the repertoire in general (which includes four forgettable Scott originals), and some of the less imaginative rhythms. ~ Scott Yanow, All Music Guide
'Smokin' Section'
Release Date 4/13/1999
Tracks 11
Label Windham Hill
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What The Critics Say
On Smokin' Section, credited to Tom Scott & the L.A. Express, the veteran saxman can't resist mixing in a few cover tunes with the stylistically diverse array of original numbers. He doesn't add too much to the arrangement of the folk-rock classic "Ode To Billie Joe," but who can argue when it's sung by the sandpaper-and-honey voiced Patty Smyth? Scott also functions as soloist/harmony line player as Phil Perry does his soulful best with Restless Heart's "I'll Still Be Lovin' You." Scott and his cohorts are all over the map the rest of the time, capturing everything from the now retro '70s flavor of the original L.A. Express to Scott's early leanings towards quartet jazz to -- as the title promises -- flashy brass funk and mindtripping fusion. Scott's alto honks above the swaying, horn section hook of the title track, then slinks into the background for much of the swampy Delta blues cool of "Cruisin' Bayou," which blends Alan Pasqua's Fender Rhodes-flavored synth riffs, Buzz Feiten's wailing steel guitar, and a soundscape by Luis Conte and Alex Acuna. The somewhat jarring rhythmic switches take the listener from the smoky mood of "If I Could Cry" to the swaying funk of "The Beat Is On" (pushed along by bassist John Pena), but the real fun comes on "TCB in E," when Scott, Pasqua, Feiten, and drummer Harvey Mason rock on and trade blistering solos for ten minutes, making '70s Rhodes-based jazz fusion relevant to 1999. ~ Jonathan Widran, All Music Guide
What The Critics Say
Although Tom Scott recorded one throwaway after another in the 1980s and '90s, he's still quite capable of recording a decent album -- which he proved on his 1992 straightahead date Born Again and his 1996 reunion with the L.A. Express, Bluestreak. Spontaneity and inspired blowing are the rules this time. Instead of pandering to smooth jazz radio, Scott lets loose and plays from the heart for a change. The Angelino (who's heard on tenor & soprano sax and flute) avoids smothering this very 1970s-sounding jazz/R&B/pop date with production and gives ample solo space to both himself and such Express alumni as Joe Sample (electric keyboards) and Robben Ford (electric guitar). A forgettable version of Marvin Gaye's "Got to Give It Up" never really takes off, but that's the only really disappointing song on Bluestreak -- an album that was long overdue. ~ Alex Henderson, All Music Guide
What The Critics Say
Throughout Tom Scott's legendary career, the saxman's strengths have always been those impossibly funky patented L.A. Express grooves and an uncanny ability to take instrumental experimentation to new and challenging places. His after-hours jaunt with some very surprising Night Creatures finds him at home whipping willing horn sections and gospel-oriented chantalongs into a frenzied intensity that packs more punch than should be legal. Scott thumbs his horn at conventionality by combining straight-ahead jazz with hip-hop on the fascinating, machine-generated "Bhop," an otherworldly flute explosion straight out of The Twilight Zone. He can't keep up the shocking explosiveness forever, though, and in light of all this magnificence, more complacent tunes like "Anytime, Anyplace and "Daybreak" ring somewhat bland and hollow. His energetic take on Sting's "We'll Be Together" is solid as covers go, but token vocals don't get any safer than Maysa Leak's ultra-generic "Don't Get Any Better." As always, Scott's genius has something in store for everyone, and it's easy to forgive the trespasses when the fire glows so convincingly in every other corner of this wild night. ~ Jonathan Widran, All Music Guide
What The Critics Say
While most musicians wind up pigeonholed into very strict stylistic trappings throughout their career, Tom Scott has f ound challenges and success playing all formats of jazz on his solo projects and as leader of the GRP All Star Big Band (in the early 90s). It was fun following his muse in the middle of the decade, as he ventured back to his straightahead roots on 1992's Born Again, then was back to the funk on this rousing jam session. Working with old and new friends like Grover Washington, Jr., Paul Jackson, Jr., Dave Witham, David Paich, Luis Conte, Eric Gale and Robben Ford, Scott mixes his own material with some contributions from the outside. The collection explodes from the get-go on the perfectly titled "Upbeat 90's," a spirited bundle of energy which combines Scott's funky tenor bravura with a modern hip-hop groove and Gale's bouncy electric guitar. The saxman plays a passionate accompaniment and interlude behind the smooth vocals of singer/guitarist Jerry Lopez on a seductive cover of Jonathan Butler's sweet "Sarah Sarah," then gives the title track--a soaring duet between Scott and Washington's duelling tenor and soprano saxes--a brassy blues and bouncy hip-hop attitude. "Every Day and Every Minute" is possibly the most unique track Scott has ever done. It's a hypnotic moodswing of spacey animation featuring mantra like breathy vocals, Witham's vibes like melody and the saxman achieving mystery with the sounds of the bass flute. ~ Jonathan Widran, All Music Guide
What The Critics Say
Target is one of those Tom Scott records that gets forgotten about a lot. Certainly it comes from the middle of the 1980s just before the GRP era, when Scott was still leading the Saturday Night Live Band on occasion and looking around for a new sound. It's the sound of a restless musician who gets the pop game, or at least has gotten it and is not sure of where to shift his focus next. The band is big and full of killer players: Harvey Mason, Ernie Watts, Ian Underwood, Victor Feldman, Paul Jackson, Neil Stubenhaus, Jim Horn, Trevor Feldman, Pete Christlieb, and Michael Boddicker, among others. The sound is a tad warmer than what Atlantic was releasing at the time, too. But the material, as good as some of it is -- like the funky title track -- also contains half-hearted pop ballads like "Come Back to Me" with Kenny James on vocals. "He's Too Young," with a fine vocal performance by Maria Muldaur, is marred by a terribly dated -- and it was for the time -- synth drum sound. There is also a truly bizarre moment when Lee Ving, former lead singer of Los Angeles hardcore band Fear raps and plays blues harmonica on "Gotta Get out of New York." Then there's "Lollipoppin'" which, while it contains the same dumb synth drum sound, also has some killer Rhodes by Feldman, synth work by Underwood, and a happening keyboard bassline. The grooving muted horn section on this reading of Dan Peck's "The Biggest Part of Me," has a wonderfully soulful feel with great kit work by Mason. The horn arrangements are in the pocket but restrained, allowing that lithe melody to shine through and, along with the title cut, it's a contender for best tune on the set. The set closes with the stone-gone funky groover "Burundi Bump" by Scott and Feldman with excellent basslines, pulsing Rhodes work, a boatload of percussion, and Mason running the ensemble from his kit; the entire tune is rhythm based. So Target is, ultimately, a mixed bag, a hold-over record that was throwing everything at the wall to see what worked. Interestingly, what did was the basis for Scott's sound at GRP. ~ Thom Jurek, All Music Guide
