Album Notes

There are a fortunate few artists who find themselves with the ability to express themselves at a high level through multiple creative outlets. Pianist, composer, and painter Greg Scott possesses the enviable talents to accomplish just that. When not performing around Houston, one can often find Mr. Scott tucked away in the solace of his art studio working on another fine production, honing his skills and solid reputation as a painter.
More than just a painter, Scott is an artist. His abilities go beyond the brush and engage another outlet, the piano, where he finds himself performing with many of the best jazz musicians in Houston. He also explores yet another creative conduit, putting pen to paper to compose new music works, 10 of which are the featured subjects of this debut project.
To help explore these creations, Scott has enlisted veteran musicians who are at the top tier of the jazz scene in Houston. This writer is honored to have had the opportunity to contribute my musical voice on soprano saxophone, somewhat uncommon as a primary featured instrument. It speaks to Scott’s creative mind to opt for an all-soprano recording. It is also an instrument I take great pride and joy in playing.
The ever-versatile Mike Owen, whom I’ve personally had the opportunity to collaborate with as a pianist, (his primary instrument at present) provides the bass. Owen proves equally as comfortable and expressive on the bass while showing he has the ability to “hold us together.” He also provided valuable arranging input that added character to the recording.
Finally, joining the group is the great Codaryl “Cody” Moffett on drums. Son of legendary drummer Charles Moffett of Ornette Colman’s famous groups of the 60’s, the prodigy lends the trademark energy and conversational skills that made him a prominent figure on the New York jazz scene. On an interesting side note, the drums on this recording were actually added after the original recording session, which was to be a drum-less trio. It speaks to Moffett’s incredible talent that he was able to record the drums afterward and still sound like he was in the room with the trio for the original session. Also, it should be noted that it is infinitely more difficult to put the drums in after the other parts were recorded, as it is usually the drums driving the band and dictating the time. However, Moffett produced these inspired performances mostly in one take!
Greg Scott has deviated from the “norm” of most jazz recording debuts by producing all original music without the almost obligatory “standards.” However, this strategy proves successful as Scott’s compositions stand on their own, providing powerful, almost already-familiar melodies and fresh harmonic structures that move the performers into new realms and ideas. The pieces, including the impression-making “Waltz For Norma,” the haunting “Silent Song” and playful “Happy Monster Song,” will treat the listener to an aural canvas that will provide many levels of depth and emotional content. The music should find itself accessible to any jazz fan, from the light listeners to the purists and aficionados alike.
-Paul Peacock 2010