Customer Reviews

Bebop United

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Prolific multi-instrumentalist, sax virtuoso Tom Scott returns to his bebop roots that he explored so well on his BORN AGAIN CD from a few years back. This time Phil Woods is a guest altoist with an all-star band that includes Randy Brecker and Ronnie Cuber. A top-notch blowing session, great original compositions, ulta-hip arrangements and impeccable recording quality! This performance would make a great DVD release too!

Simular to the fantastic Big Band CD Joe Henderson released a few years ago this is another must have as Tom Scott brings to light his original passion for all to enjoy with songs like His Eyes Her Eyes from the original Thomas Crown Afair Soundtrack and Sack O Woe by Cannonball Adderley as well as Tom's signature sound demonstrated by Close View.

Tom Scott first appeared on the radar in the 1970s as musical director for Joni Mitchell, and with his own band of jazz-rock fusioneers, the L. A. Express. His was the sax on Carole King's "Jazzman," and he was the first-call saxophonist for literally everyone. After the smooth jazz format came along in the late `80s, he became a mainstay star of that subgenre. So it's a surprise to hear him fronting a straightahead little big band with "bebop" in the album title. But this is a wonderful outing, a four-horn front line groovin' over a piano-bass-drums rhythm section. The arrangements are sweet indeed; the choice of material---from the pens of Wayne Shorter, Chick Corea, Cannonball Adderley and the Tom Cat himself---is impeccable. Bebop vet Phil Woods guests on several tunes, but it's the ensemble work that captivates and entrances with its blend of sax and brass, smooth in the best sense of the word. --Jim Newsom

Originally published in Port Folio Weekly - March 7, 2006
Copyright 2006 Port Folio Weekly. All Rights Reserved. Used by Permission.

My recollection of Tom Scott is that of his albums with his own group, the L.A. Express, his work as arranger on some Sergio Mendes and his Brasil 6* and 7* albums, and as a session musician on many pop albums. Just like my impressions of a Bob James session, my idea of a Tom Scott album has always been as Smooth Jazz, although a more fiery, more palatable, gutsier flavour of this rather maligned genre. So I was prepared to expect to hear mainstream jazz on "Bebop United" and I wasn't disappointed. With a guest appearance by Phil Woods (whom I saw at the Blue Note in NY in 1990), "Bebop United" swings unlike Scott's any other fusion-based albums, bringing with it a refreshing change. It swings brightly and it swings hard. My personal favorite is his take on Chick Corea's "Tones for Joan's Bones", misspelled on the CD liner as "...for Jones Bones". I sat through the entire CD feeling contented and wishing that he would produce more albums like this.

Sound quality is very good and despite its being a "live" recording, the session was recorded very well.

Tom Scott (ts), with guest Phil Woods (alto sax), Randy Brecker (tpt), Jay Ashby (tb), Ronnie Cuber (bari sax), Gil Goldstein (piano), Duane Burno (bass), and Willie Jones (drums)