Scott is one of the most sought-after classical and jazz
flutists in the United States. Born and raised in
Birmingham, Alabama, she burst onto the jazz scene in 2011
with her debut CD "Crossing Over". The record made it to the
Billboard and Smoothjazz.com charts, bringing her worldwide
She is in demand for her high-energy performances, having
been invited to play the Preserve Jazz Festival, Atlanta
Smooth Music Festival, and Catalina Island Jazz Traxx
Festival, among others. Kim is Chair of the Music Department
at the Alabama School of Fine Arts and has been an educator
for 13 years. She is proud to pass her musical knowledge
onto her students. Classically trained, she is a member of
the Tuscaloosa Symphony Orchestra and performs in solo
recitals and concerts across the United States and abroad.
I've been a fan of flute, and jazz flute in particular,
since the mid-70's, with albums by Hubert Laws, Dave
Valentin, Bobbi Humphrey and Kent Jordan on my shelves. I
was intrigued to hear an album by a player I'd never heard
One of the things I've always enjoyed about jazz flute is
its ability to express joy like few things I've heard. On
the opener 'Landscapes', that joy bursts out. It's a
beautifully constructed song with a great groove - and an
acoustic piano solo that melts your heart, courtesy of the
song's composer Clarence "T-Lee" Hill. Even if I weren't
typing this on a beautiful June morning, I'd be smiling.
'Treetops' keeps me smiling - I mean really smiling.
Rhythmically and melodically it satisfies.
The track that has really grabbed airplay is James “PJ”
Spraggins’ funky 'Block Party'. The way Kim's delicate tone
overlays that chunky bass and piano riff keeps the fingers
popping, head nodding and toes tapping - and that's in the
car! Her sound is unfailingly sweet and is used to great
effect on the slower, grander title track before she steps
up to the mic on 'Sweet Obsession'. This song would sound
good next to soul records of the last 30 years, but it's
doubly impressive when you remember it's sung by a
classically-trained flutist. I love the arrangement and
Kim’s own background vocals. Oh, and that lovely, spacey
synth on the chorus is a winner!!
Is Jill Scott's lovely 'Golden' suitable for an
instrumental? You better believe it! That flute has its own
voice and I can't separate this and the original - I can
enjoy them equally, depending on my mood at the time. And
it's time to salute Kim's band - I'm hearing rock-solid live
drums and bass, skilful guitar and percussion and some
keyboard sounds I love. All of these elements combine to
produce a knockout fusion sound on the exquisite 'Bright
Eyes'. Think of all the fusion instrumentals you enjoyed
during the 70's and 80's - this is up there! I don't think I
realized how good this truly was when I first heard it. I’m
not familiar with Phil Davis’ name but he wrote and played
keyboards on this tune – and he does a great job.
We already know how effectively Ms Scott handles other
artists' material - and she actually moves up a gear on her
haunting and utterly sublime take on the Bell/Creed classic
'People Make the World go Round'. There is no vocal - and,
trust me, you don't need one. 'Give Thanks' is a pretty,
unadorned melody with the flute way out front and by the end
of this album, giving thanks is something you'll want to do
- because it's a privilege to have heard it and, in my case,
written about it.
Every so often, you read about an artist, hear their music
for the first time and feel like they are really
“happening”. I’m looking at the Billboard charts right now
and I feel like Kim Scott is really happening.
Kim Scott Music 2013 – Producer Kelvin Wooten