David Thorne Scott Band

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Primary Instrument: Vocalist

Armed with roses and a piano, singer/songwriter and pianist David Thorne Scott has designs on your heart with his new album Hopeful Romantic. Deep musicianship and creativity born of years of jazz explorations combine with youthful iconoclasm and a rock aesthetic to give music-lovers a delightful surprise. Playfully sweet but wise lyrics and angular melodies are hallmarks, as is the intimate yet strong voice that declaims them.

“I love my audience. Whenever I have stretched out in my live jazz shows, whether it’s a country song or an 80s pop ballad or an experiment with electronics and chanting, they have come right along to listen,” says Scott. “When I heard the Jamie Cullum record The Pursuit, I had the epiphany that I could bring the same eclecticism to a recording.”...
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Top Five Jazz Vocal CD (2004) - Jazz Education Journal
Top Five Vocals of 2004 (not in rank order)

Andy Bey. American Song. Savoy Jazz Kitty Margoli.s Heart & Soul: Live in San Francisco. Mad-Kat Mark Murphy. Bop for Miles. HighNOte David Thorne Scott. Shade. Judi Silvano. Let Yourself Go. Zoho.

Other Top Vocals of 2004 Irene Kral. Just for Now. Jazzed Media Dianne Reeves. Christmas Time is Here. Blue Note Tierney Sutton. Dancing in the Dark. Telarc. Nancy Wilson. RSVP. Manchester Craftsmen's Guild Giacomo Gates. Centerpiece. Origin Roseanna Vitro. Tropical Postcards. Challenge Jane Monheit. Taking a Chance on Love. Sony Ray Charles. Genius Loves Company. Concord Jazz Tom Lellis. Southern Exposure. Adventure Music Bob Dorough. Sunday at Iridium. Arbors Kalley Johnson. Live at Birdland. Jazzconnect South City Voices. Got Swing! Self produced

DAVID THORNE SCOTT. Shade. Self produced. On my first audition of David Thorne Scott, I was knocked out. The jazz singer/arranger is also a composer/lyricist who is a welcome change from the more predictable vocal jazzers in the competitive vocal milieu. Scott's voice is refreshingly different; he explores, discovers, and shares resulting creative approaches to melodies and doesn't fail to swing. His valuation of the import of melody and controlled use of dynamics is crystal clear. There is excitement in his shifts in tempo, appealing motifs, and phrasing at intriguing junctures, all executed in a pure sweet tone. These traits are funneled into his occasionally playful improvisations and dramatic story telling. Besides his own five originals, there are the familiar “Just One of Those Things,” “Have You Met Miss Jones,” “April in Paris,” “Dancing on the Ceiling,” and an impressive mood- setting of the ballad “For All We Know.” His bandmates, like Scott, are Berklee College faculty members - pianist Mark Shilansky, bassist John Funkhouser, drummer Jon Hazilla, and saxophonist Daryl Lowery. We're sure to hear more from and about David Thorne Scott. Herb Wong - Jazz Education Journal (Apr 1, 2004)

David Thorne Scott is a singer with a mellow tenor voice and a real feel for the improvisatory wonders of Jazz. He fares very well on imaginative arrangements of the usual clutch of standards here, like a starry-eyed and dancing “Have You Met Miss Jones?” and an “April In Paris” that shifts tempo several times. He also has fun with several non standard tunes including a bunch of his own work. “Shade” has a sharp funk edge and “Get Out Of Your Own Way” is a swinging brush-off song with a slick bass line. “Clown Stalking” has an up and down melody that gives Scott a chance to really show off his vocal prowess and “Saratoga Hunch” is some typically wry David Frishberg that Scott sings with the requisite casual coolness. His group is an excellent match for his swinging, punchy vocals, particularly the rock solid bass work of John Funkhouser and the soulful Phil Woods-like interjections of alto player Daryl Lowery. Unlike the glorified cabaret singers being pushed as new male Jazz singing stars today, Scott does this music the right way. He phrases like a saxophone player and is as slippery and hip as the young Mel Torme. It would be nice to see some big label pick him up and sell him like they do a Peter Cincotti. Unfortunately, he’s probably too good for that. Jerome Wilson - Cadence Magazine (Aug 1, 2005) Four-and-a-half stars out of five

Months ago I received a review copy of Here Come the Boys: A Canadian Crooner Collection, featuring 15 male voices singing jazz standards. A few mildly successful highlights aside, I found some of these performances to be entirely bland, others blatantly atrocious. Aside from those boys belonging to the male sex, they seemed connected only by the predictability of their clichéd executions. Although I was semi-stunned at some of the selected mediocrity, I recall hoping this wouldn’t become the new element of surprise in 21st century jazz recordings. Luckily “Shade” has calmed me down considerably. David Thorne Scott’s dazzling debut, which features 7 standards, 5 originals and one by Paul Simon, is not just an affirmation of his artistry ��” it raises the bar for singers who claim to take themselves seriously. Crystal clear diction, squeaky clean tone and the ability to scat like a true horn player are among the qualities that set this vocalist apart from hundreds of thousands of jazz singers of either sex. It comes as no surprise that he is an Associate Professor at the Berklee College of Music, for Scott’s intellectually stimulating take on the music exudes the perfectionism one might only expect from a devoted academic. Scat ��” a four-letter S-word ��” is often given a bad name, usually because jazz singers use it incorrectly or in bad taste. From Giacomo Gates to Julie Michels, there are vocalists out there that seem enormously talented until they start scatting. It isn’t enough to randomly toss out the scoolyadoos and shoolyabops ��” one must master the syllabic instrument in a jazz context if he/she is singing jazz. This means a swinging grasp on harmonic, melodic and rhythmic improvisation, and it all has to be as interesting as what one might expect from an instrument. Without these essential qualities scat singers miss the point completely, and I am happy to report that Dave is not one of these singers. The sweetest chorus I have heard so far from his lips: a thrilling sample of “There Will Never Be Another You”, available on his website. Luckily Scott is respectful enough to abstain from scatting on standard fare such as “April in Paris” and “For All We Know”, thereby managing to bewitch with his skillful brand of storytelling. These tracks are a superb display of Scott’s sophisticated musical direction and spotless technique. Besides emerging as a genuine romantic, the singer is able to playfully refashion melody in a manner that consistently enhances a lyric. If the weakest element in “Shade” is Dave Scott’s own originals, let this be a compliment, for they aren’t half bad. From the uncanny “Clown Stalking” to the inspirational “Small Feats”, some of these are nearly as stimulating as his revitalizing interpretations of worn-out standards. I hope scat singers are among the listeners that take note of David Thorne Scott: an indisputable jazz artist that belongs in the spotlight. Ori Dagan - (Jan 23, 2005)

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Associate Professor Voice Department Berklee College of Music

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Works with vocalists and instrumentalists of all ages. Specializes in jazz singing and close harmony singing.

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