Latin Jazz Piano
'Keith´s debut jazz CD,'Waikiki', was released on Eroica/Turn On Records in April of 2004, and featured his piano and brass talents on 8 original and 3 cover songs. I´ve played it on air a lot and have been patiently awaiting the arrival of a follow up project. IT´S HERE !!!! Scott´s new CD with 14 songs was arranged for jazz piano trio and latin percussion. Keith is a Down Beat Magazine award winning arranger, and it´s highly evident on this fine collection. We miss you in Hawaii, Keith, but I know that chasing your dream of pura vida in Costa Rica is coming true for you. Please don´t make us wait too long for your next endeavor.' Marvin Franklin K 108. Honolulu As early as 1966, Keith was exploring Latin rhythms in his arrangements for small groups and big bands. His rhythm arrangements here are fairly simple and uncluttered, much like in contemporary Latin Music. This puts the spotlight on the piano at all times. Keith says,'it's almost like the piano is the lead vocalist and background singers, and the other instruments are the support group.' Critics have acclaimed Keith's interpretations not only as 'A CD that rewards repeat listening,' John Berger (Honolulu Star Bullaetin) but also 'A stellar artist awaiting induction into the galaxy of music greats,' Wayne Harada (Honolulu Advertiser). Keith was the winner of the 1968 Down Beat Magazine scholarship award to the Berklee College of Music for his big band arrangement of the song, ¨Here´s That Rainy Day.¨ In seven of these tunes, a melody was quoted from a different song for a brief time during the improvisation section, making a little game for the listener called 'try to find and identify the tune within a tune.' The last song, 'Europa,¨ is a bonus tune from Keith's 'Waikiki' CD. Keith says, 'It sold so well on the digital download scene, I´m hoping to give it a second life through this release.' It features Scott's flugelhorn, and recieved rave reviews from the critics in ´04. (Notes from the arranger) Some liberties were taken with several of these tunes, including ¨Triste,¨ which is faster than usual and played as a samba. It also sports an unusual downward modulation from the key of Bb to the key of A. On Jim Hall´s SIMPLE SAMBA, we dropped 2 bars of drum fill at the end of each section, making the song form shorter by 6 measures. The B sections were cut in both LIKE A LOVER and DEJA VU, resulting in ABA form rather than AABA. The first chorus of BLUE BOSSA is played with the standard chord progressions, but every second chorus is ripe with extended chords and alternate chord changes. Louis Bonfa´s BLACK ORPHEUS has lots of added leading chords and alternate chord changes on the intro and ending. All the other songs were also given fresh treatments that should reward repeat listening. Thanks for listening, Keith Scott.