When Mos Def and Jill Scott need someone to take their performances to the next level, they call him. When X-Clan wanted to add some heft to their Return From Mecca album, he was the one they reached out to. The man in question is Christian Scott, the acclaimed trumpeter whose textured playing appeals to both respected members of the hip-hop community and to jazz purists.
Scott’s ability to harness the attitude, urgency and power of the rap generation and his classically trained musical ear have equally informed Scott’s most impressive work to date, Anthem. It’s an album that stands as a watershed moment in music, a release that will have young fans eager to pick up a trumpet as much as they want to try their hand at rapping. It’s that powerful.
The reason Scott’s music contains such potency is that he was raised to think about things on a major, wide-reaching scale. He’s a product of the streets and the classroom, after all. Given this background and that his parents required that he be informed in local, national and international events, it should come as no surprise that Scott was moved by the destruction caused by Hurricane Katrina, and by the catastrophic failure of government that has yet to result in the repair of the Gulf Coast region nearly two years after it struck. Scott wanted Anthem to use his native New Orleans to serve as a microcosm for what was going on around the world.
“I saw a lot of problems in context to what was happening with our country and abroad during the time I was writing the music for the album,” he recalls. “I wanted to try to make something that would relate to everyone, and no one at all. It started off as a social-political album. In context with that, I wanted the Anthem to be for, or represent, people who were disenfranchised in any way.”
The two versions of the title track directly speak to Scott’s musical mission. “Anthem (Antediluvian Adaptation)” reflects New Orleans before the storm and the flood. On this selection, his playing is minimalist, and the accompanying, piano, guitars and drums are visceral, reflecting the ennui seeping through a city about to be destroyed. “Anthem (Post Diluvial Adaptation)” reflects the rage post-Katrina, when residents are outraged. A fiery performance from X-Clan rapper Brother J reflects this angst, as does Scott’s playing, which offers both pain and anger. But both versions of “Anthem” also contain similarities, a nod to New Orleans’ consistent status as a city in disarray.
“The nature of the city has not changed from then till now,” Scott says. “People have acted like after the storm happened things have gotten worse, but all the problems that were there before the storm are still there, if not worse. But the way that people have interpreted the city has changed.”
The somber, smoldering “Litany Against Fear” builds into a bright space, thus speaking to Scott’s constant pursuit to be aware of what’s going on in the world around him, rather than fear the unknown or unexplored. “Remains Distant” pays homage to Miles Davis by creating an avant garde groove that will appeal to jazz listeners and to the fast-paced lives of young black children living in the streets of America. (The album’s liner note is a poem by Saul Williams, “When The Storm Remains Distant,” which Scott felt mirrored “Remains Distant.”)
The slow, heavy, sensuous “Cease Fire” reflects the moment when a relationship dissolves, while the caressing, comforting tone of “Katrina’s Eyes” came to Scott in a dream where he imagined himself a father who was mesmerized by the eyes of his young daughter.
Indeed, the impact children have on us can be profound. That’s why Scott chose to use a photo of himself in front of a young girl playing in a murder scene chalk outline as his album cover. The photograph, taken by his twin brother Kiel, represents how our children are so desensitized to the ills of society surrounding them that are comfortable playing in the middle of them.
Scott himself was fortunate to emerge from the rugged Ninth Ward of New Orleans where he was raised. Even though he was a straight-A student and deep into athletics, he also had a propensity for fighting. It was a pastime that got him kicked out of several schools. Fortunately, Scott was also surrounded by music as a child, and realized that regardless of the mood of the day, when a second line would come through his neighborhood, everyone felt better.
By age 12, he discovered his love: playing music. That’s when he was given his first trumpet. Scott was consumed by playing the instrument. His fighting tapered off and he landed a slot at the prestigious New Orleans Center For the Creative Arts, a high school whose other alumni include Wynton Marsalis, Branford Marsalis, Terence Blanchard and Harry Connick Jr.
Scott’s superior playing led him to the Berklee School of Music, where he completed a double degree in less than half of the standard time. Soon after self-funding and self-releasing his eponymous debut album, he relocated to New York to be among other great artists and musicians, helping pave the way for his current success.
Scott joined the prestigious Concord Records roster with 2006’s Rewind That, a Top 15 album on the Billboard’s Top Jazz Albums chart that established Scott as one of music’s most exciting and innovative new talents, one who was respected in jazz circles and whose sensibility led to collaborations and performance gigs with such rap and R&B heavyweights as Mos Def, Jill Scott and X-Clan.
It’s a career path that makes his new work all the more meaningful. “I want to show with my music that you don’t necessarily have to follow a model to be successful with what you’re doing,” Scott says. “If your intentions are right and you’re coming from a place of sincerity, then typically people will understand, get it and gravitate towards it.”
And even make it their Anthem.
ADDITIONAL BIOGRAPHICAL INFORMATION
Christian Scott, born March 31, 1983 in New Orleans, Louisiana is a Grammy Award nominated jazz trumpeter, composer and producer. He has been heralded by JazzTimes magazine as "the Architect of a new commercially viable fusion" [1] and "Jazz's young style God.” [2] He is known for his keen fashion sense and impact on Jazz's recent shift in culture. As NPR stated it, "Christian Scott Ushers in New Era of Jazz.” [3] The trumpeter is the progenitor of what he calls the "whisper technique." By manipulating his breathing temperature and articulation he can procure a sound unlike the trumpet and more like a whispering human voice.
Scott produced and released his major label debut, Rewind That, on March 28, 2006, on Concord Records.[4][5] Billboard Magazine called the release "arguably the most remarkable premiere the genre has seen in the last decade.” [6] The magazine highlighted Scott as one of the "10 Faces to Watch in 2006" [7] and featured him on it’s cover twice that year. His critically acclaimed first album earned him the Grammy nomination for Best Contemporary Jazz Album in 2006.
Scott has released three solo studio recordings, Christian Scott, Rewind That and Anthem, and one live CD/DVD, Live At Newport (August 9, 2008),[8] which was inspired by Hurricane Katrina's effect on his hometown of New Orleans.[9] He intends to release his fifth album Yesterday You Said Tomorrow in February of 2010.
Christian Scott is the nephew of jazz alto saxophonist Donald Harrison Jr. [10]
Early Life
Christian Scott, and his twin brother, Kiel, were born in New Orleans, LA on March 31, 1983 to Cara Harrison and Clinton Scott III.
Christian exhibited a variety of talents and an exceptional intellect at a very early age. He was a bright student and gifted athlete and visual artist. He and his brother began drawing with amazing depth of detail, at the age of three years old. By the time they reached elementary school, one of their teachers decided to have them evaluated for this talent. It was determined that they were indeed talented in the visual arts and the New Orleans School system provided special tutors, for several years, to help them develop their gift.
Christian was also quite gifted as an athlete. He played and excelled in tennis, baseball, football, basketball and boxing. If fact, many people were able to distinguish Christian from his identical twin, Kiel, because he always carried a ball of some kind. It was thought by many that Christian, although academically and artistically gifted, would pursue a career in sports. His mother even thought of guiding him towards boxing due to his propensity for getting into scuffles in school and in the 9th Ward neighborhood in which he was raised.
Scott’s musical talent emerged at around the age of 12. While riding in a vehicle with his grandmother, the two were listening to a recording by his uncle, Donald Harrison, Jr. Christian noticed there was no trumpet on the cd. Christian, who had always admired and looked up to his uncle, began to seriously think about music. He had always wanted to be a saxophone player but understood that he had a better chance of playing in his uncle’s band someday if he played the trumpet. His mother and grandmother purchased his first horn and his brother Kiel’s first guitar, the very same year. These choices (trumpet and guitar) were a departure since the family was made up primarily of reeds players. His tutelage began with private lessons and with his mother, a clarinetist and bassoonist, who helped teach her son to read music over many nights at the kitchen table.
Christian began to display a natural talent. His mother recalls dropping a coin on a ceramic floor and, at the age of 12 or 13, Christian instinctively said, “g sharp.” Scott’s grandfather, the legendary New Orleans folksinger and Mardi Gras Indian, Big Chief Donald Harrison, Sr., also took note of the extraordinary progress his grandson demonstrated. Harrison, Sr. began introducing Christian to the legendary musicians of the bop era. He was a huge Miles Davis fan and would often have Scott play Bag’s Groove at all hours of the day and night.
Although Christian’s skills were increasing at a lightening fast pace, he wanted more. He wanted to play with his uncle. After receiving the last Doc Cheatam Award to be presented by Mr. Cheatam himself before his death, Scott decided to ask his uncle to teach him. Harrison, Jr. did not know if Scott was serious about being a musician, so he had Scott to learn and transcribe Clifford Brown’s solo in the Jazz classic, Donna Lee. This was Harrison, Jr.’s way of determining his young nephew’s dedication to the craft. When Christian completed the task and presented the transcription and played the selection for his uncle, Donald knew that Scott really wanted to learn. Scott’s tutelage under his uncle began. One of the proudest days of Christian’s young life came when he was 15 years old and played in his uncle’s band for the first time on New Year’s Eve, 1998. Scott continued to perform with his uncle's group for several years. At the age of 15, Scott’s first recorded composition, Young Blood, appeared on Harrison, Jr.’s critically acclaimed recording, Paradise Found. Paradise Found would be the first of many recordings and firsts for Harrison and Scott.[11]
Training
Scott's early training began with his mother. Once Scott demonstrated superior abilities, his uncle, Donald Harrison, Jr. took over his training. Under the direction of his uncle, Christian excelled in all areas of musical knowledge. By the age of fourteen, Christian auditioned for New Orleans Center of Creative Arts. He was accepted to the prestigious high school for the arts and excelled under the director of the jazz music program directors, Clyde Kerr, Jr. and Kent Jordan.
After completing his high school education and graduating with honors, Scott attended, Berklee College of Music, one of the premier music colleges in the United States. He received a full tuition scholarship and studied under the direction of Charlie Lewis, Dave Santoro, and Vibraphonist Gary Burton. Scott majored in Professional Music with a concentration in Film Scoring. Scott completed the five year program in three years, all while maintaing a touring schedule with Donald Harrison, Jr.'s quartet, his own band, and writing, producing and marketing his self titled first recording.
Concord Music Group
During the CD release performances at a Virgin Music store for Scotts' self titled debut recording, a former distributor for Concord Records, Kenneth Shurtlift, was in attendance. So impressed with his talent and established fan base, the former Concord Records employee forwarded Scott's recording to executives with Concord Music Group. Scott signed with the major label in 2005 and released his second recording, “Rewind That” in 2006. The music industry took notice. Scott was prominently featured on the cover of Billboard Magazine and was named a “One to Watch in 2006” by the quintessential music industry magazine. Scott’s major label debut enjoyed remarkable success with it’s odd metered offerings of Jazz, Rock and R&B infused compositions. Critics did not know how to categorize the blend of musical influences. Because of Scott's innovations, he has been credited by many for actually creating a new genre of music or at the very least, changing the genre of jazz. [12] Scott’s intention was always to move the jazz genre forward. The commercial success of “Rewind That” lead the way for other young musician’s success in emulating the groundwork laid out by Scott. His Grammy nomination for Best Contemporary Jazz Album was no surprise to those who recognized his trailblazing work.
Development of Whisper Technique
What has become known as the whisper technique is a playing style that allows the trumpeter to make the trumpet sound similar to the human voice whispering.
Arguably one of Scott's best qualities is his beautiful and hauntingly distinctive tone which is produced by his breathing warm air through his horn. Pointers from Donald Harrison and Clark Terry along with two years of intense concentration and practice to develop his unique pitch. To get the particular sound he wanted he resisted additional advice from his music teachers and books. He became somewhat of an introvert during the process. After two years of practicing and playing, the breakthrough finally came from something that was familiar but abstract. "It took a very long time, but I guess the biggest break for me was when I decided to not try and focus on changing the sound, but to try to emulate something. The thing that I tried to emulate was my mother's singing voice," explained Scott. [13]
"It came from a lot of different things. [Jazz trumpeter and elder statesman] Clark Terry told me about the technique Clifford Brown used to get an airy sound when he played. I wanted my sound to be different than any other. Miles [Davis] and Dizzy [Gillespie] and others made their mark on their generation because their sound was unique." [14]
Katrina Trumpet
Katrina is Scott's signature model Bb Trumpet made specifically for him by Edwards Instruments (Getzen). Designed by Scott, Christan Greigo and Kiel Scott the horn's attributes include a tilted bell, exchangeable lead pipe and reverse tuning system, all which helped Christian to employ his signature Whisper Technique more effectively. The horn was initially designed in this unique way from the desire of Scott to have the ability to see his audience as he played. [15]
During those years of practice, Edwards Instruments (Getzen) was busy making Christian's CS Signature Model Trumpet that bears a likeness to Dizzy Gillespie's iconic instrument. "My bell actually curves much earlier than his [Dizzy] did, like 22 degrees. His horn had a bell that went up like 35 almost 45 degrees and his bell tilts at the valve section Katrina tilts much eariler. Mine is a Generation X hybrid trumpet with blades and all this special matte finishing and engraving all over it that says Christian Scott and Katrina," explains Scott. [16] Trumpeter James Andrews also from New Orleans said that when he played Scott's horn it was like playing the most high tech trumpet on the planet. Scott's "Katrina" trumpet has reverse lead pipes, a unique valve system and stems. The tuning is revolutionary because it has a slide tuning system, and the angle of the bell at the last turn is not as sharp as a normal trumpet. This takes a bit of the backpressure off helping Scott create his unique sound." [17]
Community Service
Whenever possible, Christian takes time, while touring and on his down time, to spend quality time with young people to hold music classes, impart music business knowledge and his life experiences. These sessions are held at non-profit organizations and schools throughout the United States. Additionally, Christian lends his considerable talents to fundraising events for various organizations.
When Scott was a young man, he would often accompany his mother, Cara Harrison, to volunteer for organizations such as NO/AIDS Task Force, Each One Save One and Girls First, in New Orleans. His mother instilled in him the value and personal gratification one receives from giving time to causes that benefit the greater good of the community. Both Christian and his brother, Kiel, would assist their mother with tasks that varied from performing to making signs for fundraising events.
Scott's commitment to empowering young people continues today. While touring, Scott has held classes at high schools throughout the United States. He recently purchased custom trumpets which he gave to budding musicians from New Orleans. On his trips back to his home town, he is often a fixture at Guardians Institute's, a non-profit founded by his grandmother, Herreast Harrison, Sankofa Saturday sessions, book giveaways and informances held at New Orleans' Recovery School District schools.
Fashion
Scott's cavalier style of dress has garnered him recognition in magazines such as L'UOMO VOUGE, VOUGE ITALIA, THE SOURCE & KING MAGAZINE. Christian is known to sport Comme De Garcons drop crotch jeans, Fifth Avenue Shoe Repair, harem style pants, Dior short ties, Dior Homme, and his signature Rayban sunglasses, pearl earrings and ascots.
"Scott is possibly the best-dressed man in jazz." [18]
"His global fashion sense distinguishes him from his counterparts and endears him to fashionistas the world over." [19]
"Why can't the world be filled with more men willing to take a risk in terms of what they wear, every now and then. Men just like jazz musician Christian Scott. Clearly not afraid of exploring the side of menswear that you don't normally see out in the spotlight (runway lights not included), at the launch of David Beckham’s new pairing with Adidas on Wednesday, the trumpet player took apart a few looks from the Dior Homme Fall 2009 show and created a whole new look of his own." [20]
Discography
Discography (as a leader)
"Every now and again there comes an artist who captures your interest from the very first prodigious note that is made. As if by osmosis, their music is absorbed into the very essence of your extra sensory perceptive personified mind. That is exactly what trumpeter Christian Scott has done on his debut release" [21]
*2002 - Christian Scott' Impromp2 Records
*2006 - Rewind That Concord Records
"Rewind That" arguably the most remarkable premiere the genre has seen in the last decade" [22]
"Every now and again there comes an artist who captures your interest from the very first prodigious note that is made. As if by osmosis, their music is absorbed into the very essence of your extra sensory perceptive personified mind. That is exactly what trumpeter Christian Scott has done on his debut release" [23]
"Those interested in the future direction that jazz music is likely to take should check out Rewind That." [24]
"This album features Scott’s interplay of music and storytelling, using the actual instruments of course but also the song titles themselves to create a package of tunes that sound like the score for a collection of short stories or miniature films."[25]
"Christian Scott's debut album, Rewind That, shows him to be a striking trumpeter--the breathy tone he often uses, so tenuous it can resemble a flute, stands out in an ensemble, and he shows a natural knack for phrasing, whether playing quietly or brassily." [26]
"Rewind That is a product of everything imaginable in jazz. As a derivative of fusion, Scott has embraced hip-hop rhythms, soulful melodic grooves and harmonic nuances to bind with an improvisational standard seldom seen coming from an artist of his years. His music has a built-in simplicity about it, whereby even the most complex note structures are easily assimilated into the realm of intuitive acceptance His laid back style of play creates a sense of sanctuary in an environment where jazz is often too commercial and seldom very cerebral." [27]
*2007 - Anthem Concord Records
If Scott's primary aim was to capture the complexity of human emotions and the resiliency of the human spirit, the trumpeter has achieved his goal on Anthem. [28]
Anthem, ... is an absolute masterpiece. Consisting mostly of songs which Scott himself wrote, and performed on all the songs, this album is a gem of musical ability and talent. [29]
"Anthem is his sophomore release, and it's a doozy. Underneath a semi-static palette, you can hear the band use improvisation to create high drama using tension and release." [30]
"Anthem is a dark, sometimes despairing document that meditates on the disaster as well as charting changes in the musician’s burgeoning career and personal life." [31]
*2008 - Live At Newport Concord Records
"Three records into his career, and every disc Christian Scott makes is better than the last one. The improvements on Live At Newport are fundamental: The ensemble is at once more cohesive and elastic, the solos more consistently inventive and the slow-motion intensity that has become Scott's trademark is invested with more emotion without any loss of control." [32]
"a talented and deft improviser and his knack for creating brooding, emotionally engaged music brings to mind a mix of '60s Miles Davis and the heady art rock of Radiohead." "part of Scott's talent is his ability to sustain such epic drama throughout a whole album and in that sense, Live at Newport crackles with an earnest, youthful energy." [33]
"All in all, this release is a clear candidate for jazz album of the year. It continues the trajectory of "Rewind This" and "Anthem" and leaves little doubt that one of the key voices in jazz of the coming decades is securely in place." [34]
"The inevitable comparisons to trumpeter Miles Davis will be made as Scott's performance readily echoes that of his musical hero. And while those comparisons are natural, there is something decidedly fresh about his approach to the music." [35]
*2010 - Yesterday You Said Tomorrow' Concord Records
Christian's upcoming and highly anticipated release is called "Yesterday You Said Tomorrow." Recorded at the legendary Van Gelder Studios and engineered by iconic jazz figure Rudy Van Gelder, widely viewed as the greatest recording engineer in jazz history Scott was contacted by Rudy who expressed a desire to work with him. Scott was honored and eagerly accepted the gracious invitation to work with the legend who came out of a long stint of only doing Remasters of his earlier classics for the effort.
The recording features Scott's always political point of view about the world and what he perceives as dialog points for discussion by his listeners. Such tunes as Angola La, and the 13th Amendment, KKPD, The Roe Effect, The Last Broken Heart, Jenacide and The American't. Scott explained in a recent performance that Angola and the 13th Amendment is a statement about current U.S. law that allows the legalized slavery of incarcerated persons. Never shy about expressing his socio-political take on a subject, his intent is not to change minds but to encourage open discourse about world and U.S. human rights issues that he finds relevant.
"Yesterday You Said Tomorrow," like all of his previous recordings, also includes ballads and subject matters concerning relationships and matters of the heart. As he has grown as an individual and as a musician, so has his views which are expressed through his music.
2002 Christian Scott' Impromp2 Records
2006 Rewind That – Concord Records
2007 Anthem - Concord Records
2008 Live at Newport - Concord Records - 2008
2010 Yesterday You Said Tomorrow - Concord Records - to be released February 2010
Additional discography
Paradise Found – Donald Harrison
Kind of New – Donald Harrison
Nnenna Freelon
Planet Earth - Prince
Filmography
Leatherheads
Rachel’s Getting Married
Television
The Tavis Smiley Show - PBS
Members of The Christian Scott Quintet
Current
Christian Scott - Trumpet, Cornet, Flugel Horn, Soprano Trombone
^ Jacobson, Nils. "Rewind That" - All About Jazz - album review - March 21, 2006 - retrieved 2007-02-07
^ "Christian Scott official website". Retrieved 2007-02-07.
^ [17] http://www.popmatters.com/pm/review/christian-scott-rewind-that/
Quentin B. Huff March 2006
^ [18]http://jazztimes.com/articles/16722-rewind-that-christian-scott
Andrew Lindemann Malone April 2006
^ jazzreview.com Sheldon T. Nunn March 2006
^ [http:// www.allaboutjazz.com/php/article.php?id=27397] C. N. Harold Oct 2007
^ [19]http://www.bloggernews.net/19746
Anthony Jonet August 2007
^ [20]http://www.npr.org/templates/story/story.php?storyId=17173217
Josh Jackson December 2007
^ [21]http://www.bbc.co.uk/music/reviews/629x
BBC Paul Sullivan January 2008
Olá !!! Obrigado por você fazer parte da minha lista de amigos aqui em meu espaço e muito boa sorte pra você!!! Fique a vontade pra ouvir todas as canções do meu terceiro CD: Ebulição de Idéias, ver os vídeos de shows e tudo que quiser, ta bom?! O CD tem a participação do Zé Geraldo na música (S.O.S) e tem também uma canção em homenagem ao Maluco Beleza, Raul Seixas (Um Canto Para Raul), Além da música "Essência Oculta" que foi trilha Sonora de um filme(TV Cultura) do Grande Cineasta Hermano Penna. Grande abraço.
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