Born: February 5, 1984 Primary Instrument: Piano
The Al Scott Trio features HENRY GILBERT on Double Bass & MARCO QUARANTOTTO on Drums.
The Trio recorded their first album together called 'Introducing the Al Scott Trio' which was released November 2011. The album is available for digital download on this website.
Having seen him once before I felt lucky to have returned weeks later and caught his next gig. Even before considering his musical talent, it's a pleasure to see him perform. I think a profoundly deaf individual would still be able to enjoy Al. He reminds me somewhat of the young Daniel Tammet (a maths genius), in that when he talks about his performance he is exceedingly humble and unassuming, even though a moment before his skill was just impressing the shit out of you. He could get away with putting on airs and graces if he so wished, but that's simply not Al's disposition at all.
I found him very approachable and warm, and I imagine that as his talent is more widely recognised he will do well to have a dependable group of friends that give him some respite from what is bound to be a great deal of attention in the world of music.
That it tends to receive significantly less commercial recognition than other musical forms is probably what has been Jazz's best friend in terms of filtering out people who are purely in it for fame and fortune. It tends to attract a more passionate performer who has an actual relationship with music rather than seeing and using it as a means to an end. Al certainly seems to have this heartfelt relationship with his music, and listening to him play I was made to feel as though a jazz tradition was moving through him, and his own unegotistical style was just letting it flow.
Working well with his double bass player and drummer, Al adhered with varying degrees of closeness and freedom to jazz standards by Charles Mingus, Miles Davies, and other luminaries. By way of eye contact and body language he ensured that no departure from the backbone of the score ever evolved into something unwieldy for the trio, yet at the same time great journeys were undertaken with the entire ensemble making it safely back to base camp.
I would go so far as to predict that if you haven't seen Al perform, your choice it to do it now while there's space in the bar, or to wait a relatively short time time till it's standing room only on a TV floor audience with something involving Jules Holland.
A thorough and rigorous critique of any artist will normally include a few comments on areas with room for improvement, although with Al there seem to be no significant flaws or weaknesses. No reviewer wants to come across as fawning, but sometimes there's simply nothing bad to say. This is one of those times.
Willing to teach:
For styles ranging from Pop, Soul, Classical & Jazz studies.