TOM SCOTT

Funk Jazz / Fusion / RnB / Post Bop / Pop/Art Song/Folk • United States
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Tom Scott is a renowned composer, arranger, producer, musical director and saxophonist. He has twenty-nine solo recordings to his credit and for these efforts has earned three Grammy Awards and thirteen Grammy nominations.

Tom’s career as a guest recording artist spans more than 450 recordings—by such diverse artists as Barbra Streisand, Quincy Jones, Thelonius Monk, Lalo Schifrin, Frank Sinatra, Aretha Franklin and Chris Botti. His numerous contributions as a player and arranger include Joni Mitchell’s "Court And Spark", Steely Dan’s "Aja"; hit singles like Carole King’s "Jazzman", Paul McCartney’s "Listen To What The Man Said", Rod Stewart’s "Do You Think I’m Sexy", Blondie’s "Rapture", Captain & Tenille’s "Do That To Me One More Time", Whitney Houston’s "Saving All My Love For You"; and on movie soundtracks such as "Taxi Driver", "Bladerunner", "Heaven Can Wait", "Sea Of Love", "Who Framed Roger Rabbit?", "Toy Story 2" and "Monsters, Inc". He is featured
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Amazon (logo)
Bebop UnitedBebop United
McG Jazz 2006
$2.98
$2.03 (used)
Tom Cat by Scott, Tom (1996-07-16)Tom Cat by Scott, Tom (1996-07-16)
Sony
$24.85 (used)
Tom Scott & The L.A. Express / Tom Cat / New York ConnectionTom Scott & The L.A. Express / Tom Cat / New York Connection
BGO Records 2014
$11.46
$13.24 (used)
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TOM SCOTT Discography

TOM SCOTT albums / top albums

TOM SCOTT The Honeysuckle Breeze album cover 0.00 | 0 ratings
The Honeysuckle Breeze
Fusion 1967
TOM SCOTT Rural Still Life album cover 0.00 | 0 ratings
Rural Still Life
Post Bop 1968
TOM SCOTT Hair To Jazz album cover 0.00 | 0 ratings
Hair To Jazz
Post Bop 1969
TOM SCOTT Paint Your Wagon album cover 0.00 | 0 ratings
Paint Your Wagon
Post Bop 1970
TOM SCOTT Great Scott! album cover 0.00 | 0 ratings
Great Scott!
Funk Jazz 1972
TOM SCOTT Tom Scott And The L.A. Express album cover 3.00 | 1 ratings
Tom Scott And The L.A. Express
Funk Jazz 1974
TOM SCOTT Tom Cat album cover 0.00 | 0 ratings
Tom Cat
Funk Jazz 1975
TOM SCOTT New York Connection album cover 0.00 | 0 ratings
New York Connection
Funk Jazz 1975
TOM SCOTT Blow It Out album cover 0.00 | 0 ratings
Blow It Out
RnB 1977
TOM SCOTT Intimate Strangers album cover 5.00 | 1 ratings
Intimate Strangers
RnB 1978
TOM SCOTT Street Beat album cover 0.00 | 0 ratings
Street Beat
RnB 1979
TOM SCOTT Desire album cover 0.00 | 0 ratings
Desire
Fusion 1982
TOM SCOTT Target album cover 0.00 | 0 ratings
Target
Fusion 1983
TOM SCOTT One Night/One Day album cover 0.00 | 0 ratings
One Night/One Day
Pop/Art Song/Folk 1986
TOM SCOTT Streamlines album cover 0.00 | 0 ratings
Streamlines
Fusion 1987
TOM SCOTT Flashpoint album cover 0.00 | 0 ratings
Flashpoint
Funk Jazz 1988
TOM SCOTT Them Changes album cover 0.00 | 0 ratings
Them Changes
Funk Jazz 1990
TOM SCOTT Keep This Love Alive album cover 0.00 | 0 ratings
Keep This Love Alive
Funk Jazz 1991
TOM SCOTT Born Again album cover 0.00 | 0 ratings
Born Again
Funk Jazz 1992
TOM SCOTT Reed My Lips album cover 5.00 | 1 ratings
Reed My Lips
Funk Jazz 1994
TOM SCOTT Night Creatures album cover 0.00 | 0 ratings
Night Creatures
Funk Jazz 1995
TOM SCOTT Bluestreak album cover 0.00 | 0 ratings
Bluestreak
Funk Jazz 1996
TOM SCOTT Smokin' Section album cover 0.00 | 0 ratings
Smokin' Section
Funk Jazz 1999
TOM SCOTT New Found Freedom album cover 0.00 | 0 ratings
New Found Freedom
Pop/Art Song/Folk 2002
TOM SCOTT Tom Scott Featuring Special Guest Phil Woods ‎: Bebop United album cover 0.00 | 0 ratings
Tom Scott Featuring Special Guest Phil Woods ‎: Bebop United
Funk Jazz 2006
TOM SCOTT Tom Scott Presents Paulette McWilliams : Telling Stories album cover 0.00 | 0 ratings
Tom Scott Presents Paulette McWilliams : Telling Stories
Funk Jazz 2012

TOM SCOTT EPs & splits

TOM SCOTT live albums

TOM SCOTT Live At The Bottom Line album cover 0.00 | 0 ratings
Live At The Bottom Line
Funk Jazz 1976
TOM SCOTT Apple Juice album cover 0.00 | 0 ratings
Apple Juice
Fusion 1981
TOM SCOTT Live - Paul's Mall Boston 75 album cover 0.00 | 0 ratings
Live - Paul's Mall Boston 75
Funk Jazz 2016

TOM SCOTT demos, promos, fans club and other releases (no bootlegs)

TOM SCOTT re-issues & compilations

TOM SCOTT Blow It Out / Intimate Strangers / Street Beat album cover 0.00 | 0 ratings
Blow It Out / Intimate Strangers / Street Beat
RnB 2013
TOM SCOTT Tom Scott & The LA Express / Tom Cat / New York Connection album cover 0.00 | 0 ratings
Tom Scott & The LA Express / Tom Cat / New York Connection
Funk Jazz 2015
TOM SCOTT Desire / Target album cover 0.00 | 0 ratings
Desire / Target
Fusion 2017

TOM SCOTT singles (0)

TOM SCOTT movies (DVD, Blu-Ray or VHS)

TOM SCOTT Reviews

TOM SCOTT Tom Scott And The L.A. Express

Album · 1974 · Funk Jazz
Cover art Buy this album from MMA partners
Chicapah
As wild as the 70s were when it came to the experimental, avant garde and fusion movements blossoming in modern jazz there were also a slew of artists like Tom Scott who were cultivating and distributing a much milder and more easily digestible product to the populace called “Light Jazz.” This watered down but somehow attractive alternative became immensely popular within a widening stratum of the public who claimed to like jazz just fine as long as it didn’t get all complex and stuff. Many talented musicians opted to go traipsing down this less-demanding route in their careers and the nothing-but-the-truth answer to the question of “why?” can only be left to speculation (although I have no doubt that positive profit margins figured in extensively). George Benson, Stanley Turrentine, David Sanborn, Chuck Mangione, Lee Ritenour and Spyro Gyra are just a few of the founders of this branch of jazz that didn’t intend to broaden anyone’s horizons but did succeed in getting instrumental music back in the mainstream. Not since the heyday of the “Easy Listening” format promulgated by the likes of Mantovani, Ferrante & Teicher and Percy Faith (my dear, late mother LOVED that schlock) in the 50s and early 60s had music-only recordings had a sizeable audience to cater to. As in any genre, there were some who were more proficient and worthy of respect than others and Tom Scott and his slick L.A. Express outfit belong in that category.

Tom was a guy who really got around, working with an eclectic array of artists ranging from The Grateful Dead to Barbara Streisand and from Pink Floyd to Blondie. He also made a name for himself as a freelance composer, orchestrator and conductor who was able to garner a lot of work creating catchy TV theme songs on both coasts. In the mid-70s he recognized that there was a viable market opening up for friendly, uncomplicated jazz sounds that offered listeners something that was a noticeable step above elevator muzak but stopped short of challenging their aural sense. In short order he put together a band of proven professionals and released two albums that met all the criteria necessary to put them in contention for leading the vanguard of this new offshoot of the institution known as jazz. “Tom Cat” was their sophomore effort and, drawn to them by their pristine work with Joni Mitchell, I sprang for it in 1974 and hoped to be blown away when I got it on my turntable. It turned out to be no more than a cool breeze.

All the cuts were written by members of the group and bassist Max Bennett contributed the opener, “Rock Island Rocket,” that has a percolating, “Shaft”-ish undercurrent running through it that fuels it with an energized pulse. Tom’s saxophone plays a likeable melody that leads to an upbeat jam where Larry Nash’s electric piano, Robben Ford’s guitar and Scott himself get to contribute decent solos. Max’s “Tom Cat” follows and its funky groove immediately gets your head bobbin’ in time to the tight track that he and drummer John Guerin lay down. Their economic utilization of the synthesizer is a tasteful move and their consistent adherence to a conservative approach keeps this simple tune enjoyable. Robben’s “Day Way” is a little less commercial in that it contains a handful of unexpected detours to hold your interest. Ford performs a clever guitar ride and John’s superb drum work on the song reminds me of what I think Steve Gadd would’ve done with it and that’s a large compliment. Bennett’s “Keep On Doin’ It” is next and it comes with a Latin rock feel that’s generously peppered with some nifty percussion. Larry’s perky electric piano dominates. Tom’s “Love Poem” has an ethereal introduction and then it evolves into a smooth-flowing ballad. Dense, big band-styled harmonics in the horn section accentuated by his flute are at play, manufacturing a subtle and moody atmosphere.

Guerin’s “Good Evening Mr. & Mrs. America & All The Ships At Sea” is propelled by an aggressive rock beat and at times sounds like what Jeff Beck was into during that era but Robben’s thin guitar tone is a distraction and he subtracts rather than adds in regard to the momentum. Scott’s lively saxophone lead is much more appropriate. The 6/4 time signature that characterizes Nash’s “Backfence Cattin’” is a welcome change of pace. The number has some interesting kicks and accents happening but don’t get too excited, Return to Forever fare this ain’t. Tom and Max are responsible for composing the eight and a half-minute “Mondo” and its semi-Mahavishnu Orchestra aura awards it the designation of being the album’s most involved and interesting track by far. According to the credits either Tom or Larry is at fault but the unnerving synthesizer intrusion is too reedy to be compelling and it kinda spoils the moment. Once they segue from that to a jazzy shuffle Nash tosses in a spunky electric piano ride that helps to even the score. John’s drumming is excellent, especially during his not-so-brief solo that caught me off guard. They end with Scott’s “Refried,” a lazy song that sports a contemporary AOR groove drifting underneath a slinky sax and guitar melody line. Ford’s acoustic guitar lead and Tom’s lyricon ride are both fairly predictable and safe.

The “Light Jazz” phenomenon continued to grow to the point where almost every major American city had at least one FM radio station that touted proudly that all of their programming was “mellow and relaxing.” Now that we’re in the 21st millennium that brand of jazz has slowly faded out of favor but it lives on as soundtrack music for The Weather Channel’s “Local on the 8s” feature. I refuse to be such a constipated jazz snob that I would disparage or dismiss the whole curriculum out of hand because there are dozens of other forms of music (and crap that calls itself as much) in this world that I would never prefer over it. Tom Scott and the L.A. Express provided a service that was in high demand at the time and it’s hard to criticize them for being savvy businessmen. After making this album they would take a 23-year break from recording together so they never became a force to be reckoned with but they have nothing to be ashamed of on “Top Cat.” It is what it is. If the contents were half as intriguing as David McMacken’s cover illustration it would be a revered landmark. In my final analysis, it’s a good record that won’t put a strain upon anyone’s brain.

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