Matti P For now, Nightcap is the only album of the American vocalist MARILYN SCOTT (b. 1949) that I've listened to, but she's definitely worth further listening. This album was produced by George Duke who naturally plays the piano and keyboards. The other [to me] well known musician is drummer Vinnie Colaiuta, but there's no doubt about the whole Los Angeles -based combo being seasoned top musicians. Guaranteed, the album sounds damn good.

The 8-piece set list favours standards -- although not necessarily the most worn-out ones, on the course of the whole album. Often such orientation towards well-known evergreens feels very tired to me, but Marilyn Scott and the arranger George Duke have brought new spark to familiar songs. For example Irving Berlin's 'Isn't This a Lovely Day' has a rare freshness in it, with a lovely flute participation. Even 'Smile', the heavily circulated Charles Chaplin evergreen, doesn't make me feel I've heard it too many times. Duke's piano in it is so rich, and the vibes are the cherry on top. Hoagy Carmichael's 'Stardust' also works nicely, although I'm not fond of the Toots Thielemans-type harmonica. But admittedly a few more unfamiliar songs would have improved the album.

Sorry, I forgot to deal with Marilyn's vocals. She is an excellent singer with a natural and yet nuanced expression, and her voice is clear, warm and deep. A step towards the likes of Patricia Barber in that matter, although not in that low register.

Marilyn Scott's version of the Jerome Kern standard 'Yesterdays' is sensually playful, not moody like I've heard it sung many times. Again the flute is crucial. The double bass and a guitar also have solo spots. The final piece 'If It's the Last Thing I Do' (Sammy Cahn/Saul Chaplin) wasn't familiar to me. A beautiful jazz ballad with some livelier moments amidst the dreamy slowness.

I'm saving my favourite last. I don't know if 'Here's to Life' is a minor standard, I've heard two versions of it. But boy, I truly fell in love with this passionate and thoughtful performance. Not only Marilyn Scott is at her emotionally deepest here, the detailed arrangement with the great use of dynamics makes the piece so gorgeous it gives me goosebumps. This one really should have ended the whole album!

Carmel The Landscape is Marilyn Scott’s thirteenth album as a leader, in which she is joined by her closest friends to collaborate on her most profound truths through seven compositions. Scott expands, “The Landscape project grew out of listening to myself and others with life’s frustrations and concerns. One of the only outlets I know of is putting yourself in front of nature and letting go. These elements of life, precious and surreal, give answers if we embrace and nurture our surroundings. With The Landscape, I addressed places to put yourself and add an appreciation of the moment, no matter where you are. I find it more difficult at times to find that peace, but it’s right in front of you, right outside your door, in the street and alleys of your wilderness. Let’s protect nature, and she will help you find your breath.”

The title track exemplifies Scott’s fantastic lyric writing, venturing into developing stylistic fusion territory. Co-written with Scott Kinsey, the combination of stunning lyrics paired with the harmonic mutability of the music pushes an expressive musical experience. Kinsey’s explosive synths and Gary Novak’s command of the drum set builds the song dramatically. Scott’s vocals have warmth and elegance and beckon you to listen to the lyrics. She beacons fans of mainstream fusion to listen with purpose as she contours the music with passion and understanding of phrasing.

“Unzip” is a collaboration between Scott and Russell Ferrante with a swaying Latin feel to support the memorable melody. Scott’s husky and melodious voice exhibits the kind of breath control only the most technically skilled singers can achieve as she effortlessly sings the many lyrics and wide intervals of the melody. The ensemble builds a great Latin groove, and Ferrante’s keyboard solo is terrific. The joy of the music matches the sentiment in Scott’s lyrics to “Unzip, Unwind.”

The Landscape is a fusion project with a rare combination of beautifully written lyrics and melodies paired with outstanding ensemble playing and solos. This set of original music has depth in the sounds of the longstanding American Fusion tradition, especially for vocalists.