TOMMY SCOTT - A Welcome Return
Interview by George Cole
Can you tell us when and where you were born?
I was born in Hereford on 13 May 1983, but grew up in Llandrindod Wells [a Welsh spa town].
Did anyone else in your family have a musical talent?
My father was a musician and composer, and I had a half-brother who was a concert violinist. I started playing the xylophone when I was one year-old. I had some small drums I liked to play, and I also loved to conduct along to symphonies.
What music did you grow up listening to?
I grew up listening to a lot of classical music such as Beethoven, Sibelius, Wagner, Chopin, Shubert, and Bruckner.
What age did you start playing piano? Do you play any other instruments?
I started studying piano when I was five years old. I also learnt to play the drums a bit in my twenties, which helped my overall understanding of jazz.
When did you discover that you had this natural talent for music?
I discovered that I had a talent for music because I was taking on pieces by Beethoven and Chopin by the time I was seven. I did this without any formal lessons, just some good guidance from my family and friends. I did put in quite a bit of practice time, but I seemed to pick it up relatively easily.
Who are your biggest musical influences?
My biggest influences are probably Herbie Hancock and McCoy Tyner, but I have also spent a lot of time studying Keith Jarrett, Chick Corea, Danilo Perez, Kenny Kirkland, Bill Evans, Bud Powell, Joey Calderazzo, Geri Allen and Thelonious Monk.
Why did you decide to play jazz?
When I was twelve I went to see Sonny Rollins play at The Forum in Bath. This was in 1995. It was so inspiring that it really made me want to play jazz and I started practising hard.
What music education did you have?
I had very little formal training, but I studied privately with [keyboardist] Jason Rebello when I was fourteen and that was very helpful.
In your teens you met and played with an amazing array of musicians, who were all very encouraging. Can you recall any of the memorable encounters you had at the time, and any valuable tips or lessons you gained from them?
I will always be grateful to Joey Calderazzo for letting me sit in with his trio when I was only thirteen. He had taken a short break from touring with Michael Brecker and he happened to be doing a small gig in Bristol. I was nervous as I’d never played a jazz gig before. He subsequently got me to sit in every year at the Pizza Express in Soho. He also introduced me to Branford Marsalis, Jason Rebello, and Jeff ‘Tain’ Watts, who I got to play with on one occasion. Branford told me to go back to the roots of the music and listen to everyone going back to Sidney Bechet.
I met [pianist] Danilo Pérez when I was sixteen. We’d jam together after hours and I remember him telling me about things he learnt from his conversations with Dizzy [Gillespie], Dave Holland, and Wayne Shorter. He talked about leaving space to make complex things sound simple. He talked about being fearless when improvising and the challenges of blending in the improvisation with the orchestral scores they were working with. He also introduced me to Wayne [Shorter] and told him I’d been working out all of Wayne’s music. Wayne smiled and said emphatically ‘make up your own chords!’ Wayne got his band to think in visual imagery. Once I was backstage and Wayne was doing these boxing moves and explaining about the unpredictability of the timing and how that related to music. I was amazed when the great Elvin Jones heard me play after hours at Ronnie Scott’s and he actually liked my playing and encouraged me.
You became known as “Tommy the transcriber”! What led you to become such an enthusiastic transcriber?
Jason [Rebello] suggested that I take transcribing seriously and when I started turning up to Wayne Shorter gigs with my transcriptions of the band and [bassist] John Patitucci started calling me the transcriber. I started to read classical music when I was five and I could read it pretty well by the time I was seven. Reading came quite easily to me. I don’t have perfect pitch, but I think relative pitch is more important anyway. I wrote my first composition when I was fourteen years old and it was a jazz piece called One Step Behind. I got a book of transcribed solos of Red Garland when I was twelve. I began doing transcribing myself when I was thirteen: I started with a Hank Jones solo, and a Joe Henderson solo.
Would you say that, overall, being a child prodigy is a blessing or a curse?
I don’t want to generalise about being a ‘prodigy’ because everyone’s circumstances are different. For me, it was important because of the people I met and the opportunities I had. If it hadn’t been for that I probably wouldn’t have pursued music.
What was it like playing at the Cheltenham Jazz Festival at just sixteen?
It was an incredible experience, especially because I had Gene Calderazzo on drums; who is a very fiery player. There were several hundred people there, the energy just went through the roof and everyone was talking about it. We got very good reviews and I got invited to play at the Brecon and London Jazz Festivals that same year.
You played at the Brecon Jazz Festival in 2008 and then withdrew from the music scene. Can you explain what lay behind this decision?
In 2008, I chose to withdraw from the music scene. It was a time of self-reflection and self-development.
Can you tell us when and where you were born?
I was born in Hereford on 13 May 1983, but grew up in Llandrindod Wells [a Welsh spa town].
Did anyone else in your family have a musical talent?
My father was a musician and composer, and I had a half-brother who was a concert violinist. I started playing the xylophone when I was one year-old. I had some small drums I liked to play, and I also loved to conduct along to symphonies.
What music did you grow up listening to?
I grew up listening to a lot of classical music such as Beethoven, Sibelius, Wagner, Chopin, Shubert, and Bruckner.
What age did you start playing piano? Do you play any other instruments?
I started studying piano when I was five years old. I also learnt to play the drums a bit in my twenties, which helped my overall understanding of jazz.
When did you discover that you had this natural talent for music?
I discovered that I had a talent for music because I was taking on pieces by Beethoven and Chopin by the time I was seven. I did this without any formal lessons, just some good guidance from my family and friends. I did put in quite a bit of practice time, but I seemed to pick it up relatively easily.
Who are your biggest musical influences?
My biggest influences are probably Herbie Hancock and McCoy Tyner, but I have also spent a lot of time studying Keith Jarrett, Chick Corea, Danilo Perez, Kenny Kirkland, Bill Evans, Bud Powell, Joey Calderazzo, Geri Allen and Thelonious Monk.
Why did you decide to play jazz?
When I was twelve I went to see Sonny Rollins play at The Forum in Bath. This was in 1995. It was so inspiring that it really made me want to play jazz and I started practising hard.
What music education did you have?
I had very little formal training, but I studied privately with [keyboardist] Jason Rebello when I was fourteen and that was very helpful.
In your teens you met and played with an amazing array of musicians, who were all very encouraging. Can you recall any of the memorable encounters you had at the time, and any valuable tips or lessons you gained from them?
I will always be grateful to Joey Calderazzo for letting me sit in with his trio when I was only thirteen. He had taken a short break from touring with Michael Brecker and he happened to be doing a small gig in Bristol. I was nervous as I’d never played a jazz gig before. He subsequently got me to sit in every year at the Pizza Express in Soho. He also introduced me to Branford Marsalis, Jason Rebello, and Jeff ‘Tain’ Watts, who I got to play with on one occasion. Branford told me to go back to the roots of the music and listen to everyone going back to Sidney Bechet.
I met [pianist] Danilo Pérez when I was sixteen. We’d jam together after hours and I remember him telling me about things he learnt from his conversations with Dizzy [Gillespie], Dave Holland, and Wayne Shorter. He talked about leaving space to make complex things sound simple. He talked about being fearless when improvising and the challenges of blending in the improvisation with the orchestral scores they were working with. He also introduced me to Wayne [Shorter] and told him I’d been working out all of Wayne’s music. Wayne smiled and said emphatically ‘make up your own chords!’ Wayne got his band to think in visual imagery. Once I was backstage and Wayne was doing these boxing moves and explaining about the unpredictability of the timing and how that related to music. I was amazed when the great Elvin Jones heard me play after hours at Ronnie Scott’s and he actually liked my playing and encouraged me.
You became known as “Tommy the transcriber”! What led you to become such an enthusiastic transcriber?
Jason [Rebello] suggested that I take transcribing seriously and when I started turning up to Wayne Shorter gigs with my transcriptions of the band and [bassist] John Patitucci started calling me the transcriber. I started to read classical music when I was five and I could read it pretty well by the time I was seven. Reading came quite easily to me. I don’t have perfect pitch, but I think relative pitch is more important anyway. I wrote my first composition when I was fourteen years old and it was a jazz piece called One Step Behind. I got a book of transcribed solos of Red Garland when I was twelve. I began doing transcribing myself when I was thirteen: I started with a Hank Jones solo, and a Joe Henderson solo.
Would you say that, overall, being a child prodigy is a blessing or a curse?
I don’t want to generalise about being a ‘prodigy’ because everyone’s circumstances are different. For me, it was important because of the people I met and the opportunities I had. If it hadn’t been for that I probably wouldn’t have pursued music.
What was it like playing at the Cheltenham Jazz Festival at just sixteen?
It was an incredible experience, especially because I had Gene Calderazzo on drums; who is a very fiery player. There were several hundred people there, the energy just went through the roof and everyone was talking about it. We got very good reviews and I got invited to play at the Brecon and London Jazz Festivals that same year.
You played at the Brecon Jazz Festival in 2008 and then withdrew from the music scene. Can you explain what lay behind this decision?
In 2008, I chose to withdraw from the music scene. It was a time of self-reflection and self-development.
What inspired you to play and record again? When did you start playing again with the view to recording a new album?
In 2017, I thought that as I have this music ability, it was a shame not to try and make the most of it. I think with more maturity, I felt more ready to engage with the business side of music. I started playing jazz gigs again in late 2017 - I got offered a couple of dates on a tour with trumpeter Damon Brown at the Burford jazz club, and one in Cheltenham. It was refreshing and exhilarating to play with a band again. Then, I started working on the music for my new album.
Your studio band of Yuri Goloubev and Asaf Sirkis is incredible. How did you get to link up with them?
I looked for all my favourite players in the UK and I reached out to them on Facebook and by email with some recordings and sketches of tunes I’d made. I was delighted that Yuri and Asaf were willing to meet me with a view to recording.
In 2017, I thought that as I have this music ability, it was a shame not to try and make the most of it. I think with more maturity, I felt more ready to engage with the business side of music. I started playing jazz gigs again in late 2017 - I got offered a couple of dates on a tour with trumpeter Damon Brown at the Burford jazz club, and one in Cheltenham. It was refreshing and exhilarating to play with a band again. Then, I started working on the music for my new album.
Your studio band of Yuri Goloubev and Asaf Sirkis is incredible. How did you get to link up with them?
I looked for all my favourite players in the UK and I reached out to them on Facebook and by email with some recordings and sketches of tunes I’d made. I was delighted that Yuri and Asaf were willing to meet me with a view to recording.
What do they bring to your music?
Asaf and Yuri brought class and a tremendous amount of experience to my trio. I was impressed with their approach and contribution. We only had two days booked in the studio and I remember it was all very focused. I had a vision that I wanted to produce a work of art at the end of those two days and I am happy to feel that I succeeded.
How long did it take to rehearse and get the music into shape before going into the studio?
We had a couple of rehearsals before the session. I had confidence in Yuri and Asaf to make great music because they’re both world-class players. I like the idea of keeping recording sessions fresh and not over rehearsing them. That’s something that I got from Miles Davis - he was so spontaneous in the studio. We rehearsed on the Monday evening. The first day of recording (Tuesday) we recorded nine tracks. We’d do several takes of each and then move onto the next piece. The arrangements were quite structured and a little complex in places. I wanted to create a sense of flow and through composition so they maybe parts which sound improvised, but which were actually composed. I had arranged some of the bass parts in advance. At the same time, I tried to leave enough room for spontaneity and there is actually a great deal of improvisation going on too. I had confidence to give Yuri and Asaf the space to make it sound good. With less accomplished players it would probably have needed more arrangement and rehearsal.
On the Wednesday we recorded the two video tracks which are on YouTube.
https://www.youtube.com/watch?v=UDHUJM2fLGc
https://www.youtube.com/watch?v=tv10A48fEDo
Then we spent the afternoon choosing our favourite takes and doing a few edits. We kept it real and each track sounds pretty much how we played it with minimal edits.
Is there a reason why all the tunes are your own compositions, and are you writing any more songs?
Since my first trio performances, I have included some of my own compositions and at present I am writing for my next record. Although I’ll often do sideman gigs and play standards, when I play and record with my own bands I like to make it primarily my own original music.
The album title and many of the song titles are interesting – Opportune Moment, New Page, Change of Pace, Avenues of Discovery, Reinvention, Goodbye Treadmill, Pushing The Boundaries – is this a reflection of how you feel about your re-emergence in the music scene?
Yes, when I wrote the music for this album I felt like I was entering a new phase in my life and the titles reflect that change.
How has the music scene changed since you were last involved with it?
I think in the last fifteen years or so there are a lot more young people playing jazz who have gone through college and can play really well. There are not more gigs though and so it’s more competitive. This new generation I feel doesn’t have the same connection with the originators of the music, as many of the players from the 50s and 60s have now passed away. They have also learned in a different way using YouTube and more technology.
Which of today’s jazz musicians impress you?
Of the musicians around today, I like Joshua Redman, Jason Moran, Brad Mehldau, Shai Maestro, Pablo Held, Danilo Perez, Gwilym Simcock, Chris Potter, and Joey Alexander.
Are there any jazz artists you’d like to play with?
Yes, there are lots of great musicians I’d like to play with. For example, Joe Lovano, Chris Potter, Joshua Redman, Avishai Cohen, and Terence Blanchard.
What do you look for when choosing a band member?
They need to have a good sound and make a good tone out of their instruments. They need to have a solid time and have a groove which appeals to me. There is also a sense of assuredness where you can play with confidence and make everything count. The ability to listen carefully, play for the music, and interact is very important too, and Asaf and Yuri are both brilliant at this.
Asaf and Yuri brought class and a tremendous amount of experience to my trio. I was impressed with their approach and contribution. We only had two days booked in the studio and I remember it was all very focused. I had a vision that I wanted to produce a work of art at the end of those two days and I am happy to feel that I succeeded.
How long did it take to rehearse and get the music into shape before going into the studio?
We had a couple of rehearsals before the session. I had confidence in Yuri and Asaf to make great music because they’re both world-class players. I like the idea of keeping recording sessions fresh and not over rehearsing them. That’s something that I got from Miles Davis - he was so spontaneous in the studio. We rehearsed on the Monday evening. The first day of recording (Tuesday) we recorded nine tracks. We’d do several takes of each and then move onto the next piece. The arrangements were quite structured and a little complex in places. I wanted to create a sense of flow and through composition so they maybe parts which sound improvised, but which were actually composed. I had arranged some of the bass parts in advance. At the same time, I tried to leave enough room for spontaneity and there is actually a great deal of improvisation going on too. I had confidence to give Yuri and Asaf the space to make it sound good. With less accomplished players it would probably have needed more arrangement and rehearsal.
On the Wednesday we recorded the two video tracks which are on YouTube.
https://www.youtube.com/watch?v=UDHUJM2fLGc
https://www.youtube.com/watch?v=tv10A48fEDo
Then we spent the afternoon choosing our favourite takes and doing a few edits. We kept it real and each track sounds pretty much how we played it with minimal edits.
Is there a reason why all the tunes are your own compositions, and are you writing any more songs?
Since my first trio performances, I have included some of my own compositions and at present I am writing for my next record. Although I’ll often do sideman gigs and play standards, when I play and record with my own bands I like to make it primarily my own original music.
The album title and many of the song titles are interesting – Opportune Moment, New Page, Change of Pace, Avenues of Discovery, Reinvention, Goodbye Treadmill, Pushing The Boundaries – is this a reflection of how you feel about your re-emergence in the music scene?
Yes, when I wrote the music for this album I felt like I was entering a new phase in my life and the titles reflect that change.
How has the music scene changed since you were last involved with it?
I think in the last fifteen years or so there are a lot more young people playing jazz who have gone through college and can play really well. There are not more gigs though and so it’s more competitive. This new generation I feel doesn’t have the same connection with the originators of the music, as many of the players from the 50s and 60s have now passed away. They have also learned in a different way using YouTube and more technology.
Which of today’s jazz musicians impress you?
Of the musicians around today, I like Joshua Redman, Jason Moran, Brad Mehldau, Shai Maestro, Pablo Held, Danilo Perez, Gwilym Simcock, Chris Potter, and Joey Alexander.
Are there any jazz artists you’d like to play with?
Yes, there are lots of great musicians I’d like to play with. For example, Joe Lovano, Chris Potter, Joshua Redman, Avishai Cohen, and Terence Blanchard.
What do you look for when choosing a band member?
They need to have a good sound and make a good tone out of their instruments. They need to have a solid time and have a groove which appeals to me. There is also a sense of assuredness where you can play with confidence and make everything count. The ability to listen carefully, play for the music, and interact is very important too, and Asaf and Yuri are both brilliant at this.
You’ve put your album out on your own label – what are challenges and opportunities of this approach?
It would have been nice to have got a label [deal]. The record industry has been struggling for some time to adapt to online world and at this time I didn't find a deal that I was happy with. These days, the technology is quite easy in principle for individuals to self-release. You just need to know how to upload to an online distributor and set up your website so that people can buy it. There are also financial considerations and not only recording but also marketing and promoting your music can be expensive. One of the big advantages to self-releasing is that you retain control over the music.
One of the things I felt about the album was the tremendous energy in the playing. It sounds like this is a very inspiring time for you?
I have always played with a lot of energy. I think it’s because in my formative years as a jazz musician I studied McCoy, Kenny Kirkland, and Joey Calderazzo, who all play with a great deal of energy. That energy is part of what excites me about the music. The tremendous support of Yuri and Asaf is really conducive to playing well. When I play with them I like everything that I hear and that inspires me to play my best. I feel very motivated at the moment to push myself to be successful in my musical career.
Are you happy with the resulting album?
Yes, I’m very happy with the album. I feel a great sense of achievement. Whatever anyone else thinks, I have proved to myself that I can hold my own with the best and make great music together. It also establishes me as a composer, which is very important to me. We have also performed the music from the album a number of times since the recording session and it’s been extremely well received.
It’s a shame that your album is being released during the Covid crisis, as there isn’t the opportunity to tour and promote the album. How have you coped during this time?
During the Covid crisis I have mostly been teaching online and have been managing to sustain myself doing that. It would have been nice to have had the opportunity to tour with the release of the album, but I’m hoping we will be able to in 2021. In the meantime, I just wanted to get that first album out into the world so I can keep moving forward to new projects.
Do you plan to tour with the studio band?
Yes, I am hoping to tour with Yuri and Asaf when the music scene gets going again and I would love to play some of the European festivals.
What are your plans for the future – for example, do you plan to record another album or play with other artists?
I am currently writing the music for my next album. I haven’t confirmed the line-up yet, but I am hoping to get a special guest to play saxophone on some tracks. I am excited about the potential of collaborating and doing sideman gigs with other artists as well.
It would have been nice to have got a label [deal]. The record industry has been struggling for some time to adapt to online world and at this time I didn't find a deal that I was happy with. These days, the technology is quite easy in principle for individuals to self-release. You just need to know how to upload to an online distributor and set up your website so that people can buy it. There are also financial considerations and not only recording but also marketing and promoting your music can be expensive. One of the big advantages to self-releasing is that you retain control over the music.
One of the things I felt about the album was the tremendous energy in the playing. It sounds like this is a very inspiring time for you?
I have always played with a lot of energy. I think it’s because in my formative years as a jazz musician I studied McCoy, Kenny Kirkland, and Joey Calderazzo, who all play with a great deal of energy. That energy is part of what excites me about the music. The tremendous support of Yuri and Asaf is really conducive to playing well. When I play with them I like everything that I hear and that inspires me to play my best. I feel very motivated at the moment to push myself to be successful in my musical career.
Are you happy with the resulting album?
Yes, I’m very happy with the album. I feel a great sense of achievement. Whatever anyone else thinks, I have proved to myself that I can hold my own with the best and make great music together. It also establishes me as a composer, which is very important to me. We have also performed the music from the album a number of times since the recording session and it’s been extremely well received.
It’s a shame that your album is being released during the Covid crisis, as there isn’t the opportunity to tour and promote the album. How have you coped during this time?
During the Covid crisis I have mostly been teaching online and have been managing to sustain myself doing that. It would have been nice to have had the opportunity to tour with the release of the album, but I’m hoping we will be able to in 2021. In the meantime, I just wanted to get that first album out into the world so I can keep moving forward to new projects.
Do you plan to tour with the studio band?
Yes, I am hoping to tour with Yuri and Asaf when the music scene gets going again and I would love to play some of the European festivals.
What are your plans for the future – for example, do you plan to record another album or play with other artists?
I am currently writing the music for my next album. I haven’t confirmed the line-up yet, but I am hoping to get a special guest to play saxophone on some tracks. I am excited about the potential of collaborating and doing sideman gigs with other artists as well.
For more information about Tommy and to see video performances of many of the tunes on the album,
go to: https://tommyscottmusic.com/
go to: https://tommyscottmusic.com/
