Tyner's drummer Aaron Scott
Dan Jewett
could provide some background on his drummer Aaron Scott. Scott struck me as a
textural player who was very "present" in the three way mix.
Some of the people with me were a little annoyed by how busy Scott's playing
was, but I thought he was perfect for Tyner. The trio set up in a straight
line across the stage and we were right in front of Scott, so perhaps that's
why he seemed a little overwhelming to my companions.
I have the '95(?) Tyner album Infinity w/Scott but don't know anything else
about him. Bassist Avery Sharpe was very impressive as a soloist as well.
Thanks for any info.
Dan
Jay Epstein
Over the years, I've seen McCoy with Elvin Jones, Billy Hart, Eric Kamau
Gravatt, & Louis Hayes, and much prefer their playing to Aaron Scott's. I
side with your annoyed friends here, but not because of his general
'busyness'. The previously mentioned master drummers are certainly busy,
however, they have a creative depth and multidimensionality that Aaron
doesn't.
Jay
"One never knows, do one?" - Fats Waller
Nordwell, Kurt (BNR:BNRTP:3I38)
> Dan,
> Over the years, I've seen McCoy with Elvin Jones, Billy Hart, Eric Kamau
> Gravatt, & Louis Hayes, and much prefer their playing to Aaron Scott's. I
> side with your annoyed friends here, but not because of his general
> 'busyness'. The previously mentioned master drummers are certainly busy,
> however, they have a creative depth and multidimensionality that Aaron
> doesn't.
I have to take some exception to this opinion. I have seen alot of live music,
and Aaron Scott's drum solo when Tyner was in Chapel Hill a couple of years
ago was spellbinding. I have never seen anyone do a better solo. Most of
the time, I can't wait till it's over. This one was long and consistently thoughout
very interesting. Actually, I (and my firends) thought Avery was the weak link.
Peace,
Kurt
George Larson
than the recommendation to get the album "Remembering John" by the Tyner
Trio, especially the track "India"), but I need to contradict both Jay and
Kurt. First, Jay, Aaron is definitely different from the other cats you list
that have played with McCoy, and maybe it's because I'm a bit young, but I
find Aaron's playing to be an excellent blend of many contemporary
approaches to the drum kit. Sometimes in his business I hear Rashid Ali, in
his flowing independence I hear a variation on some of the things Jack
DeJohnette will do (a la Irresistible Forces), in his groove I hear an
almost rock-ish approach, very driving. I think I find his playing like a
link between what I grew up with (which was ultra "white" i.e., drum corps,
heavy metal, and progressive rock) and the roots of Elvin and Max (not to
say they are THE roots, but I hear them in Aaron's playing). His approach
lets me see all these influences and as a result, he is one of my favorite
contemporary jazz players.
Now, Kurt, I know this all opinion, but Avery is the weak link? I can't
see how anyone could feel that way. I have seen the McCoy Tyner Trio a bunch
(sometimes with guests Bobby Hutcherson or Randy Brecker) and the thing that
always blows my mind is how anyone can keep up with McCoy. But I feel that
Aaron and Avery are up to the task, and if either of them every look less
than stellar, it is only because not many players can stand the comparison
to Tyner.
George
Dan Jewett <drj78...@aol.comspamout> wrote in message
news:19991021213142...@ng-cm1.aol.com...
> I saw the McCoy Tyner trio in Kansas City recently and was wondering if
any one
> could provide some background on his drummer Aaron Scott. Scott struck me
as a
> textural player who was very "present" in the three way mix.
>
> Some of the people with me were a little annoyed by how busy Scott's
playing
> was, but I thought he was perfect for Tyner. The trio set up in a
straight
> line across the stage and we were right in front of Scott, so perhaps
that's
> why he seemed a little overwhelming to my companions.
>
> I have the '95(?) Tyner album Infinity w/Scott but don't know anything
else
> about him. Bassist Avery Sharpe was very impressive as a soloist as well.
>
Robert Schuh
Kurt,
No offense, but who gives a fuck about drum solos? It is how you play with the group
that counts.
--
Robert Schuh
"There Can be Only One!"
Stevie, Trane, Jaco, Jimi and Bird are GODS!
Donate your organs. Save a life.
Proud Endorser of Spaun Drums
Richard Thurston
x@x.x (Jay Epstein) wrote:
> Dan,
> Over the years, I've seen McCoy with Elvin Jones, Billy Hart, Eric
Kamau
> Gravatt, & Louis Hayes, and much prefer their playing to Aaron
Scott's. I
> side with your annoyed friends here, but not because of his general
> 'busyness'. The previously mentioned master drummers are certainly
busy,
> however, they have a creative depth and multidimensionality that Aaron
> doesn't.
>
> "One never knows, do one?" - Fats Waller
>
>
--
Nturally McCoy Tyner, one of the real giants (still) of the music would
work with a drummer, for at least nine years that I'm aware of,
without 'creative depth' or 'multidimensionality'. Of course he'd hire
a lightweight for his trio. Or would he?
Richard Thurston
Sent via Deja.com http://www.deja.com/
Before you buy.
Jay Epstein
Of course this is all listener preference - - -
Aaron may take a spellbinding solo, but I sure don't get an emotive depth
out of his playing, nor do I hear much of Rashid Ali or Jack, both of whom
I've listened to a LOT. I do hear his rock-ish groove, but that doesn't
exactly ring my doorbell . . . I similarly don't care for Alphonse Mouzon's
or Billy Cobham's heavy handedness with McCoy, but, I absolutely LOVE the
intensity that Jack or Tony bring to the 'SuperTrios' disc, although I've
never seen them with McCoy, & obviously all these guys are dense & heavy
hitters, so I'm not just singling out anyone on the basis of volume alone.
It's pretty clear that McCoy digs muscular players. Richard, apparently he
hears something in Aaron's playing that I don't, but I just can't group him
in the same creative genre of players like Elvin, Kamau, Louis Hayes, &
Billy Hart. I'd be curious to hear of any other situations besides McCoy in
which Aaron has played. Any other recordings he's on? It's my good fortune
to live in a city with a 24/7 real jazz station (KBEM) that has an
extensive library into which I can readily call requests.
Jay
"One never knows, do one?" - Fats Waller
"George Larson" <panja...@mediaone.net> wrote:
>Alright, wait a minute, I can't add to much info about Aaron Scott (other
>than the recommendation to get the album "Remembering John" by the Tyner
>Trio, especially the track "India"), but I need to contradict both Jay and
>Kurt. First, Jay, Aaron is definitely different from the other cats you list
>that have played with McCoy, and maybe it's because I'm a bit young, but I
>find Aaron's playing to be an excellent blend of many contemporary
>approaches to the drum kit. Sometimes in his business I hear Rashid Ali, in
>his flowing independence I hear a variation on some of the things Jack
>DeJohnette will do (a la Irresistible Forces), in his groove I hear an
>almost rock-ish approach, very driving. I think I find his playing like a
>link between what I grew up with (which was ultra "white" i.e., drum corps,
>heavy metal, and progressive rock) and the roots of Elvin and Max (not to
>say they are THE roots, but I hear them in Aaron's playing). His approach
>lets me see all these influences and as a result, he is one of my favorite
>contemporary jazz players.
> Now, Kurt, I know this all opinion, but Avery is the weak link? I can't
>see how anyone could feel that way. I have seen the McCoy Tyner Trio a bunch
>(sometimes with guests Bobby Hutcherson or Randy Brecker) and the thing that
>always blows my mind is how anyone can keep up with McCoy. But I feel that
>Aaron and Avery are up to the task, and if either of them every look less
>than stellar, it is only because not many players can stand the comparison
>to Tyner.
> George
Kurt wrote:
> I have to take some exception to this opinion. I have seen alot of live music,
> and Aaron Scott's drum solo when Tyner was in Chapel Hill a couple of years
> ago was spellbinding. I have never seen anyone do a better solo. Most of
> the time, I can't wait till it's over. This one was long and consistently thoughout
> very interesting. Actually, I (and my firends) thought Avery was the weak link.
Paul Craig Sanwald
:very interesting. Actually, I (and my firends) thought Avery was the weak link.
:
I've heard one or two people say this before, and I just don't get it. Avery
IMHO, is one of the better bass soloists playing. I thought his accompaniment
was really solid as well. Was it just his overall sound you didn't like, or
was it something specific about his playing?
--paul
Richard Thurston
--
This is an odd thread. As with Aaron Scott the drummer, Avery Sharpe
has played with Tyner since at least 1990. McCoy Tyner is unable to
figure out how he wants his band to sound? He somehow would hire (and
spend years with) folks who can't really play? Of course not.
Paul Craig Sanwald
:
: This is an odd thread. As with Aaron Scott the drummer, Avery Sharpe
: has played with Tyner since at least 1990. McCoy Tyner is unable to
: figure out how he wants his band to sound? He somehow would hire (and
: spend years with) folks who can't really play? Of course not.
Well, I don't think anyone's suggesting Avery or Aaron can't play. It's
just that Kurt felt that Avery was the weak link (which may just mean
he didn't feel Avery was the best player for that particular group).
I then asked Kurt why he felt this way, considering I think Avery kicks
ass. Don't really remember anyone suggesting Tyner didn't know how he wanted
his band to sound, or anything like that.
--paul
JC Martin
>"Nordwell, Kurt (BNR:BNRTP:3I38)" wrote:
>
>> Jay Epstein wrote:
>>
>> > Dan,
>> > Over the years, I've seen McCoy with Elvin Jones, Billy Hart, Eric
Kamau
>> > Gravatt, & Louis Hayes, and much prefer their playing to Aaron Scott's.
I
>> > side with your annoyed friends here, but not because of his general
>> > 'busyness'. The previously mentioned master drummers are certainly
busy,
>> > however, they have a creative depth and multidimensionality that Aaron
>> > doesn't.
>>
music,
>> and Aaron Scott's drum solo when Tyner was in Chapel Hill a couple of
years
>> ago was spellbinding. I have never seen anyone do a better solo. Most of
>> the time, I can't wait till it's over. This one was long and consistently
thoughout
link.
>>
>>
>> Kurt
>
>Kurt,
>No offense, but who gives a fuck about drum solos? It is how you play with
the group
>that counts.
Generally I find that good jazz drummers who excel in the support role, also
come up with the more interesting drum solos.
-JC
George Larson
Ah, okay, you nailed it when you said you weren't crazy about Mouzon or
Cobham with Tyner. I am. I think Aaron is probably more in that direction.
Something you said further on brought up a question in my mind, though.
Quote:
"I just can't group him in the same creative genre of players like Elvin,
Kamau, Louis Hayes, & Billy Hart." (btw, that's tough company, and I'm not
sure I could include Aaron Scott in THAT particular group either) I'm
wondering if there are rock (or "straight-eighth") guys that you would put
in the "creative" category? I have a few in mind off the top of my head but
I want to see if your brain works like mine without tipping the scales. I
understand that you're a jazz cat and so probably the majority of your
listening is to that genre, but I'm interested in your thoughts on different
styles' creative players.
Later,
George
Jay Epstein <x@x.x> wrote in message
news:3811e621...@news.tcinternet.net...
> > I have to take some exception to this opinion. I have seen alot of live
music,
> > and Aaron Scott's drum solo when Tyner was in Chapel Hill a couple of
years
> > ago was spellbinding. I have never seen anyone do a better solo. Most of
> > the time, I can't wait till it's over. This one was long and
consistently thoughout
> > very interesting. Actually, I (and my firends) thought Avery was the
weak link.
>
Murphy McMahon
> Dan,
> Over the years, I've seen McCoy with Elvin Jones, Billy Hart, Eric Kamau
> Gravatt, & Louis Hayes, and much prefer their playing to Aaron Scott's. I
> side with your annoyed friends here, but not because of his general
> 'busyness'. The previously mentioned master drummers are certainly busy,
> however, they have a creative depth and multidimensionality that Aaron
> doesn't.
I'd agree to an extent. I liked some of the things Scott executed, ut I
found his build-up to climax a tad frustrating, as he usually reached his
peak level of intensity before McCoy was ready to reach his. I saw Tyner
play four sets (two different nights) and noticed over time that Scott was
least effective on the longer tunes, probably for this reason. I found Avery
Sharpe to be excellent as a soloist and accompanist, and thought the band on
the whole, was still one of the best I've ever seen, FWIW.
(Note: I realized at the time and still do that Aaron's style is not
terribly Elvin Jones derivitive: impressive, but not the way to win me over
;)
--
Murph
Jay Epstein
You've touched on one of my favorite improv directions:
Open straight 8ths! I certainly don't believe jazz has to swing, only that
it have a sense of improvisational adventure. On the other hand, I find
most of funk/fusion to be a real pretentious bore, and a lot of the
rock-influenced-16th note syncopation blatherings hold little interest for
me with a few exceptions, Vinnie being one. So, with the realization that
most of the following guys definitely CAN play in a classic triplet-based
swing realm, some of my favorite guys in a non-swing/non-rock mode are Jack
DeJohnette, Paul Motian, Mike Clark, Jeff Hershfield, Billy Kilson, Trilock
Gurtu, Tony Oxley, Peter Erskine, Ralph Peterson, Bill Elgart, Jim Black, &
the wonderfully ethereal Jon Christensen. I like Will Kennedy's playing on
the Yellowjacket's 'The Spin', but consider that work an anomoly. For a lot
of years, I've played with other musicians that have been influenced by the
European ECM direction. There is an inherent difficulty in playing music
that doesn't come out of a swing, rock, or latin mold, in that there are
fewer preconceived rhythmic templates on which we can 'fall back', however,
I'm attracted to playing in this direction because of the higher
risk/reward ratio. The real disconcerting thing is that there is little
market & appreciation for music without an overt groove slaming into people
at 110 decibels, and even in the 'jazz' community, the criterion is: It
don't mean a thing if it ain't got that swing. Also, most of direction in
which I've developed my musicianship & artistry as been at a mezzopianistic
level, so in general, I like to play in ways that attract an ear by
whispering, rather than shouting into it.
Sorry, I digress. I've seen Mouzon & Cobham, and they unquestionably have
stunning athleticism, but after I picked my jaw up from the floor, I went
home to work on more brush swirl patterns or coordinational things that
were more intriguing to me, rather than clocking my single stroking.
We obviously agree on enjoying McCoy. Let's have you sit in his producer's
chair - which guys would you call for the gig(s)?
Nordwell, Kurt (BNR:BNRTP:3I38)
> Nordwell, Kurt (BNR:BNRTP:3I38) (nord...@nortelnetworks.com) wrote:
> :very interesting. Actually, I (and my firends) thought Avery was the weak link.
> :
>
> I've heard one or two people say this before, and I just don't get it. Avery
> IMHO, is one of the better bass soloists playing. I thought his accompaniment
> was really solid as well. Was it just his overall sound you didn't like, or
> was it something specific about his playing?
>
> --paul
He did not seem as musically connected as Tyner and Aaron were. He seemed lost
and tentative at times; I could hear it and see it. Perhaps he was in sync, but he
was not possessed like Tyner and Aaron.
Peace,
Kurt
George Larson
Whew, what a well thought out response. That last question isn't fair
(and will expose me as not thinking as highly of Aaron Scott as I think I
may have implied). First, though I think your points about funk/fusion are
well taken, and for certain fusion efforts I agree. However, fusion (or at
least jazz/rock) is what got me into jazz in the first place. My very first
jazz exposure was Trane's "My Favorite Things" and I thought it was great,
but didn't feel compelled to check out similar stuff. My next foray into
'jazz' listening was Miles' "Live at the Fillmore." Wow. This was like
nothing I had heard before (and I'm not sure how much I've heard since is
similar). It was organic, natural, spontaneous, grooving, dynamic, and any
other positive adjectives you feel like applying. Ironically for our
discussion Jack DeJohnette was one of the players (which started my
realization of Jack's unbelievable ability). Finally I explored more
traditional jazz, but I went forward with the fusion that Miles had started
as well. Billy Cobham became on of my favorites as well, mostly with
Mahavishnu, as some of his solo stuff is kinda (as you put it) "a real
pretentious bore" (however, there are some jewels, especially early on like
the albums "Flight Time" and "Stratus" (the latter has a real gem called
"Wrapped in a Cloud")). Weather Report as well became a favorite of mine
(along with Chester Thompson, Peter Erskine, and Alex Acuna). I know that
most around here consider them progressive rock, but the Dixie Dregs are a
great example of some well done "scripted" music within what I would call
the creative (or maybe 'art-sy') type of music (and my posts in the past
have made no secret of my worship of Rod Morgenstein - although I would love
to hear him in a more improvisatory setting). I think the problem is that
there is so much music sometimes it becomes a matter of hearing a smattering
of what is available and making decisions based on that. When I was studying
composition, I found that exact problem, there is not enough time in my life
to listen to a definitive sampling of every composer, so how the hell do I
know whom I want to study further? (well, mostly advice from others that I
respect) Also, part of the problem is that people like the Rippingtons (who
I actually can listen to for something smooth, which is unusual since I
usually don't like anything that I would think of as 'smooth') are
considered 'fusion.' I don't know who decided that, but I certainly think
very highly of fusion, and you've got to be pretty special for me to think
of you as fusion. Strangely enough, I would call some of Tyner's stuff (most
notably some of the 70's stuff like "Expansions" and "Sahara") the truest
sense of fusion. And yet, he also continues as one of the elder statesmen of
jazz (I think that's a testament to his greatness). As for right now, I'm
not very active in pursuing new things to listen to - and at the moment I
seem to be discovering Buddy Rich, but that's another topic - but I think
that some of the stuff that has come out of the rock side of things is very
interesting. For instance, I love the Rudess Morgenstein Project (jeez, I
bet you never saw that one coming), as well as the Liquid Tension Experiment
discs. I think Jazz is Dead is really cool and fairly creative, and the
Black Light Syndrome CD with Terry Bozzio is stellar. Some of Pat Metheny's
stuff can get kind of like 'here's all the chord scales I know,' but some of
it is quite thoughtful (the "Quartet" disc comes to mind). I think Simon
Phillips' solo stuff is quite good (although I'm not totally sold on Ray
Russell's playing).
As for who I would pair with Tyner, well, that's a toughie. My cop out
answer is Jack DeJohnette and Dave Holland, I think that would be an amazing
line up based on things I've heard before (has this group ever happened? I
feel silly, but I don't know). If I stretch out a little and pick guys based
on the magic of potential I think I would go for Gregg Bissonette (who can
rely a little too much on licks, not to mention that he's thought of as a
rock/metal guy, but his work with Maynard Ferguson shows some nice jazz
potential) and Victor Wooten. I think this lineup would be very different
than what Tyner's been doing lately, and would make all members
s-t-r-e-t-c-h to pull it off, but I think some real magic could happen with
a lineup like this. Going a little further out, I'd love to see how Rod
Morgenstein would handle a situation like this, maybe with like a Stanley
Clarke on bass (I don't think this lineup has the potential of the first
two, it's just my curiosity to see if Rod could handle the improv that this
situation would demand (I bet he could btw - but what would you expect from
a Rod worshiper?)). And finally, just because I think Jaco would be an
amazing bassist with Tyner, I'll pick a dead drummer as well and say a
Tyner, Jaco, Philly Joe Jones lineup would be special indeed (although Jaco
may be a little heavy (loud) for this trio, I'm sure he would adapt
wonderfully).
Later,
George
Jay Epstein <x@x.x> wrote in message
news:3813fea...@news.tcinternet.net...
Jay Epstein
I hope you didn't get Carpel Tunnel Syndrome answering typing this! :-)
I'm not as much of a fan of fusion as you, and you sure mentioned some
great players, but Bissonette with Tyner seems like a square plug in a
round hole to me! I don't know of Tyner recording with or playing with Jack
& Dave, but that would be wonderful. Have you heard the bootleg of
DeJohnette, Holland, Metheny, & Herbie Hancock - Parallel Realities Live?
The bootleg is a CD recorded off the video. I think you'd dig it.
Robert Schuh
> George,
> I hope you didn't get Carpel Tunnel Syndrome answering typing this! :-)
> I'm not as much of a fan of fusion as you, and you sure mentioned some
> great players, but Bissonette with Tyner seems like a square plug in a
> round hole to me! I don't know of Tyner recording with or playing with Jack
> & Dave, but that would be wonderful. Have you heard the bootleg of
> DeJohnette, Holland, Metheny, & Herbie Hancock - Parallel Realities Live?
> The bootleg is a CD recorded off the video. I think you'd dig it.
>
> Jay
> "One never knows, do one?" - Fats Waller
>
Jay,
I agree. Bissonette with ANY jazz player would be fucked up. The guy could not
swing from a rope. It is difficult for many to get what we are talking about as
far as "jazz" guys go. The Stewarts, Blades, Tains, Jacks etc. are the real
thing. They guys coming from the fusion end ala Weckl, Bissonette etc., etc.,
just do not cut it. I saw Ronnie Barrage with McCoy when I was in high school and
he tore it up.
George Larson
albums definitely. Okay, upon more consideration I agree the Bissonette
thing was stretching it a bit, but I was going for someone who didn't come
from the school of thought that Rob mentions in his response. Kinda my whole
point in the beginning defending Aaron Scott was that I appreciate a
different take on this kind of music. I don't care a whit whether someone
comes from the roots that Rob thinks are important, I just want to hear what
I like. I like Bissonette's
playing (with the caveat about him being too lick oriented), and just think
it would be neat to hear and would make them all really reach to work
together. I often enjoy square pegs in round holes :-). I think that most of
our opinions of players are based on a very small view of what they can
actually play, we've only seen what they have played. I'd like to see more
guys given the opportunity to stretch and play some music. Gregg just
happened to be one of the first to come to mind. I think the Burning for
Buddy stuff was great because it gave us the chance to check out guys out of
their element. While some weaknesses were exposed, some surprisingly good
efforts were also turned in. It's just cool to see what someone without the
weight of Elvin on his shoulders does with this music.
Later,
George
Jay Epstein <x@x.x> wrote in message
news:3814a51b...@news.tcinternet.net...
George Larson
Jay and I were specifically taking 'swing' out of the necessities of our
considerations. And, further, the fusion guys are great players. They don't
get 'something' that's true, but what they don't get is you. They get me.
Rod Morgenstein speaks to my soul as much (and more) than Elvin ever could
hope to, it's not good or bad or right or wrong once it's at a certain
level, it's just different. I mean, Weckl isn't totally my cup of tea
either, but he's not a bad a drummer, he's not even a bad swing drummer, you
just don't like his interpretation and feel, fine. I don't know why you feel
so threatened when someone doesn't see things your way. Just swing, baby is
not the mantra it once was, and it probably never should have been. Saying
it sucks if it doesn't swing is as stupid as saying it sucks because it
swings. It is flawed logic.
Later,
George
Robert Schuh <rsc...@yahoo.com> wrote in message
news:3814B68E...@yahoo.com...
> Jay Epstein wrote:
>
> > George,
> > I hope you didn't get Carpel Tunnel Syndrome answering typing this! :-)
> > I'm not as much of a fan of fusion as you, and you sure mentioned some
> > great players, but Bissonette with Tyner seems like a square plug in a
> > round hole to me! I don't know of Tyner recording with or playing with
Jack
> > & Dave, but that would be wonderful. Have you heard the bootleg of
> > DeJohnette, Holland, Metheny, & Herbie Hancock - Parallel Realities
Live?
> > The bootleg is a CD recorded off the video. I think you'd dig it.
> >
> > Jay
> > "One never knows, do one?" - Fats Waller
> >
>
psjon...@gmail.com
> I saw the McCoy Tyner trio in Kansas City recently and was wondering if any one
> could provide some background on his drummer Aaron Scott. Scott struck me as a
> textural player who was very "present" in the three way mix.
>
> Some of the people with me were a little annoyed by how busy Scott's playing
> was, but I thought he was perfect for Tyner. The trio set up in a straight
> line across the stage and we were right in front of Scott, so perhaps that's
> why he seemed a little overwhelming to my companions.
>
> I have the '95(?) Tyner album Infinity w/Scott but don't know anything else
> about him. Bassist Avery Sharpe was very impressive as a soloist as well.
>
> Thanks for any info.
> Dan
Spring of 1978 at Fort Bragg, NC. Aaron was a signal soldier and I was in the XVIII Abn Corp-CE(communications and electronics). This was during the time that the military had the old rec centers where you could go and sign out instruments and gig in rooms(different era). Aaron was dating the girl who ran the center and later married her(Mimi). He had his own room set up and wasn't very approachable because most of the guys wanted to get into their very best funk grove(Brick House) and stuff like that. Aaron always had an air about him that he was beyond pettiness. I watched him for a few weeks and then one day asked to sit in on bass...we broke out into Weather Reports "Black Market" and became best friends. When he formed his Jazz Fusion group "The Aaron Scott Jazz Ensemble", he asked me to play bass and I readily accepted. Our group played gigs in Chapel Hill and Fayetteville.
Aaron later auditioned for and was accepted in the 82nd Abn Division Band. After a few weeks with them, he told them about me and the then commander CW2 Hank Hamilton requested that I audition which I did and was accepted. I made a career out of the Army band field, but Aaron was special, very special. His style isn't for everyone, and he knows that and accepts that reality. He's very much into composite styles of music, pretty much into Anti-Music as far as formats and his ideas. He's most comfortable in free form styles where he can articulate his mastery of poly-rhythms and that is where he fits and communicates to well with Tyner. He can groove, but it's a different kind of groove, not so much in your face. Some of his most prodigious work that I can remember was in 6/8 swing feel of tunes like Al Jarreau's "Fly"(cover with his ensemble) where the groove was there, but he accounted for every possible combination of rhythms on multiple levels. You can here a lot of Jack Dejohnette in his playing, Jack and the intellectual prodigiousness of Max Roach. That's all that I have, hope that it helps.
Le Roi Brashears
Peace Arnold
> Aaron Scott is with the Billy Harper Quintet. Playing this weekend, September 8, 9, & 10 (2023) at Dizzy’s Jazz Club, in NYC. Not sure there are any seats left for these shows.. they will be at Smoke in the near future. If interested, I recommend you reserve your seats early