Andy Scott's 'Freedom of Movement' for Trumpet & Wind Band concerto features on Rex Richardson's new album, 'Freedom of Movement: 21st Century Trumpet Concertos'.
Rex's album brings together concertos by composers Anthony Plog, Andy Scott, James Stephenson and Allen Vizzutti in fantastic performances with four different ensembles!
Iwan Fox, reviewing for 4barsrest, introduces the spirit of the new album, describing Rex as 'one of the most dangerously thrilling soloists to enjoy in full performance flow', possessing a 'fearless adventurousness'. An ethos, Iwan states, that is shared by the four composers as 'the concertos of Vizzutti, Scott, Plog and Stephenson are unrestrained in their daring, audacious outlook.'
For more on Rex's new album & to get your copy, click here
'the richly textured soundscapes and harmonic structures of Andy Scott’s ‘Freedom of Movement’ […] a wonderful, ductile piece of musicianship that makes for a work of colourful substance'- Iwan Fox, 4barsrest
For more info & to purchase the music for 'Freedom of Movement' for Trumpet & Wind Band Concerto visit Astute Music - here
The Sonorous Saxophone Ensemble will premiere new saxophone octet arrangements of Andy's pieces 'Tjuonavagge' & 'Golden Horn' on their Switzerland Tour.
Performing on the 24th July 2018 at the Ceresio estate '18, Morcote, Parco Scherrer.
A specially commissioned arrangement of 'Paquito' for flute & guitar is being premiered on the 28th July 2018.
Composed and arranged by Andy, 'Paquito' for flute & guitar will be performed by flautist Nicola Loten and guitarist Arturo Castro Nogueras as part of their 'Latin Flavours: Between Two Worlds' concert at Reading Fringe Festival.
For more info on the concert, click here
On 28th July 2018, Matt Styles will be giving the Australian premiere of Andy Scott's 'Westland' for solo tenor saxophone, as part of his solo recital at the Melbourne International Saxophone Festival.
For more info on Matt's recital, click here
The music for 'Westland' is available for purchase with Astute Music here
Check out these upcoming performances of Andy Scott’s compositions at the World Saxophone Congress in Zagreb, Croatia, July 2018...
12th July: My Mountain Top for solo Bb saxophone performed by Joey Speranzo
10:30 - Student Centre Theatre & TD Semicircular Hall Savska cesta 25
12th July: World premiere of Tjuonavagge for soprano saxophone, tenor saxophone and piano version, performed by Gillian Blair, Nathan Mertens & Rie Yokota
11:00 - Academy of Music, Vaclav Huml Hall Trg Republike Hrvatske 12
13th July: Nemesis for soprano saxophone and vibraphone performed by Duo Antipodes
14:30 - Student Centre Theatre & TD Semicircular Hall Savska cesta 25
14th July: Three Letter Word for alto saxophone and piano performed by Emma McPhilemy & Hannah Creviston
14:15 - Academy of Music, Vaclav Huml Hall Trg Republike Hrvatske 12
14th July: Westland for solo tenor saxophone performed by soloist Kyle Hutchins as part of the Tenor Saxophone Collective’s programme
14:30 - Student Centre Theatre & TD Semicircular Hall Savska cesta 25
For more info about the World Sax Congress & this year's programme, visit: https://bit.ly/2KXEkEn
Andy's massed brass band piece, 'Brass Revolution!' will have its world premiere at the Music for Youth National Festival on the 4th July 2018 at Birmingham Town Hall.
The premiere will be performed collaboratively with young musicians in association with the Love Music Trust and their partner ensembles. 'Brass Revolution!' was commissioned by the Love Music Trust.
For more info, click here
A new work for Tenor Saxophone by Andy Scott is now published and available from Astute Music.
It was composed in late 2016 and Andy Scott gave the world premiere of Westland in Holland at the Westland Saxophone Festival in January 2017
On the 6th June 2018, the Aurora Percussion Duo will give the world premiere of Andy's new piece 'Xi'Yu' as part of their concert at the Swaledale Festival.
The piece was titled 'Xi'Yu' by the percussion duo, Delia Stevens and Le Yu, and was commissioned by Swaledale Festival.
For more info on this event, click here
Photo by Guy Carpenter at Gullwing Photography
On Saturday 5th May 2018 I was fortunate enough to be in Utrecht and attend the world premiere of Defiance, a new work that I had been approached to write for the Fairey Brass Band, supported by Brass Band England & funded by PRSF.
Fairey Band were representing England at the prestigious European Brass Band Championships, with each band playing the set test piece A Time for Outrage, a wonderful work from Marco Putz, originally for Fanfare Orchestra, arranged for the occasion by my friend Paul McGhee (a brilliant composer himself) and the following day performing an own choice work. In this competition (as with others in the
The Apollo Saxophone Quartet will be performing in an exciting collaborative project with the Artvark Saxophone Quartet in several concerts between the 24th - 26th May 2018 in the Netherlands! For more info on these events, click here [link to events when that's live]
The two quartets met in South Africa whilst touring together and there was an instant connection, both musically and personally. Both groups are musically open-minded and all eight musicians are composers as well as saxophonists.
In January 2018, the Artvark met the Apollo for three days of intense rehearsing, each player bringing a new octet, before launching this collaboration in May in Holland.
UK dates and a recording will follow in 2018/2019...
4BR's Chris Thomas talks in depth to composer Andy Scott.
his first work for brass band, yet within that short time his working relationship as Composer in Residence at Foden's has spawned several pieces that have earmarked him as one of the most refreshing and innovative creative compositional voices.
The spirit of that originality stems from Scott's background as a professional saxophonist and a career that has taken him into widely diverse musical territory – from the Halle Orchestra to the successful Apollo Saxophone Quartet.
However, the nucleus of his style is rooted in big band jazz, Latin and funk.
2010 has seen the release of two CD's that have featured his music.
‘Double Trouble’, shares the limelight with fellow jazz saxophonist and composer Barbara Thompson and focuses on several solo tuba works written for James Gourlay and Les Neish.....
READ THE REST OF THE ARTICLE ON 4 BARS REST HERE
Performed at the WASBE Conference (World Association for Symphonic Bands and Ensembles) in Utrecht, July 2017.
Andy’s piece was performed by the Gelders Fanfare Orchestra with vocalist Fenna Orgrajensek and directed by Erik Van de Kolk. Described as ‘touching’ and ‘emotional’, A Child like You is based upon the real-life story of a 17-year old Ugandan Asian boy who fled to Britain in the early 1970's to escape the brutal rule of Idi Amin.
“in the midst of the turmoil of the music a duet of singer and harp […] I cried […] we could read the whole story through the music.”
'Fujiko' by Andy Scott, scored for solo flute and wind orchestra, has recently been featured in various concerts around Japan, performed by flutist Rachel Smith with the Coldstream Guards as part of their 2017 Japan Tour
On the 2nd September, saxophonists Rob Buckland & Matt Styles, with the WAAPA Symphonic Wind Ensemble gave a performance of Andy Scott’s ‘Dark Rain’ at the All Saints’ College Centre for Performing Arts in Perth, Australia.
‘Dark Rain’ is one continuous movement and after a dramatic opening exclamation from the two soloists, journeys through a collision of contemporary classical, bebop, big band and swing before concluding with a release of tension in a final chorale.
‘”Dark Rain’ will leave the audience with no doubt of the versatility and musical power of the saxophone.” – Matt Styles in interview with Scenestr.
Andy Scott with ‘Dark Rain’ ~ Winner of a British Composer Award in 2006
The sheet music for ‘Dark Rain’ (Two Saxophones & Wind Orchestra) is available here
Introducing Kickstart flute, a fantastic new online flute teaching resource by flautist Clare Southworth, in association with Trevor James Flutes.
Upon starting formal flute lessons, Clare speaks of finding the beginner tutor books rather narrow in their choices of music so "my idea of writing a beginner method then was to include all genres, to encourage a love of all music”. The tutorials are based around 24 duets encompassing all genres of music, composed by Andy Scott, ‘one of the most versatile and exciting composers writing today.’
“ Kickstart flute is a completely new approach to learning, it’s challenging and it’s good to have a challenge, with the reward being able to play fabulous original music by Andy Scott”
To read more on this fantastic flute teaching resource, visit: https://www.kickstartflute.com/
Music commissioned & funded by TJ Flutes
On Wednesday 30th August 2017, international woodwind specialist Diana Tolmie and award-winning jazz pianist Sophie Min premiered Sonata by Andy Scott at the Queensland Conservatorium Griffith University Ian Hanger Recital Hall in Australia.
Andy Scott’s Sonata for saxophone & piano is available for purchase here
Have a listen to this clip of Sonata as performed by Anthony Brown (alto sax) & Leo Nicholson (piano) from the World premiere in 2015...
Andy Scott’s new piece for clarinet ensemble, Momento was commissioned by the South Tyrol Clarinet Ensemble & the British Clarinet Ensemble. Momento is a six minute work that pays homage to Monk, Ella and Dizzy, three jazz legends who share 1917 as their year of birth.
The world premiere takes place on Monday 4th September 2017, 20:30 in Drescher Kellen, Kaltern, Italy and will be performed by the combined forces of the South Tyrol & British Clarinet Ensembles.
The UK premiere by the British Clarinet Ensemble will take place on Saturday 21st October 2017 in Oakham School Chapel. More details to follow…
One of Andy's works for Flute and Piano "... Αnd Everything is Still" was premiered on Saturday 10th June 2017, in Athen, Greece at the "Εrateio Odeio" Concert Hall.
The concert, entitled " Sometime the Sea"- when music meets poetry also featured Paschalis Plisis (Narrator), Flute: Hellas Chalkia and Piano: Thanos Margetis
Andy Scott + Group S CD - Ruby & All Things Purple
It's finally released (hooray) and is now available on iTunes here
...I'd be grateful if you bought a hard copy CD from either the record company direct (BASHO) or my online webshop.
It's a good looking CD to have in your collection, (if you like that sort of thing), it has lots of liner notes, plus I get more royalties than if you bought the album through iTunes.
I've deliberately asked for the CD to not be available via streaming, so you won't find it on Spotify or similar services. I'd get around 0.000001p per stream from Spotify, so I don't want this CD on a service which doesn't give composers a decent royalty.
So please, support my music by buying the CD direct from either BASHO or my online webshop
Ruby And All Things Purple
The Maidstone Symphonic Windband are launching a new CD of Windband Music by Andy Scott on 25th February 2017.
At the end of January, Andy took part in the Westland Saxofoon Festival. He had composed a new piece of music specifically for the event, which he has since named "Westland" and it was successfully premiered over that weekend.
The weekend of 11th/12th February saw Andy attending the inaugural JazzSmart Workshop for the North west, which was a huge success. The 2-day workshop, held in partnership with the Manchester College Jazz Department featured a varied repertoire of British compositions.
There will also be a further 3-day Saxophone ensemble workshop on 4th-6th August in Barton on Sea (near Bournemouth) when Andy will be working with anyone wanting to take their saxophone and ensemble playing to the next level.
For further details see the JazzSmart website: www.jazzsmart.com/andy-scott-2017/
There is currently a special offer of £15 off the rrp for Libero (making it now excellent value at £60) until the end of 2017.
Use promotion code XMAS60 at the checkout.
Interview With Bob Mintzer, November, 2005
Conducted by Andy Scott of the Royal Northern College of Music
Used With Permission
Andy Scott: It's fantastic that you were able to be the special guest at the 5th RNCM Saxophone Day in Manchester, and also work with the RNCM sax students in class and concert settings! Did you enjoy your Manchester experience? (apart from the chili in the canteen)
Bob Mintzer: I enjoyed the visit to RNCM very much! Thank you for inviting me to be a part of this wonderful gathering. I was quite impressed at the level of musicianship I saw in all the performances and demonstrations. The ensembles, soloists, and composers (yourself included!) were just great! In my opinion, we need many more of these kinds of gatherings, where players young and old can congregate, compare notes, and premiere new music. Really the only change I would make is to put less chili powder in the chili. That stuff could kill you!
AS: In your first class on the Thursday one of the RNCM student saxophone quartets performed your 1st Sax Quartet to you? What were your feelings about their performance? And presumably you must hear vastly different interpretations of your sax quartets on your travels worldwide?
BM: The students did a very nice job with the quartet. There is obviously a very good ensemble sensibility at RNCM and a strong work ethic. I was honored and impressed at the way the kids handled the music. They considered lots of detail in deciding on an approach, and the piece wound up having a nice personality and sound that reflected these 4 players. It was also nice to see something like this being played that is out of the mainstream of classical saxophone repertoire. We need more pieces that straddle genre and style.
AS: What general advice would you offer to young musicians (such as the RNCM students) about the music business?
BM: In my humble opinion, the music business is very much like other business in that one's success is determined by how strong the product is, and how adept you are at delivering that product to the public. It all starts with having a strong passion and curiosity for the 12 tones, working on the music and making decisions about how and what you want to say with your playing, writing, etc. Part of the process of becoming a mature musician involves playing a lot with others. Writing music as a vehicle for your playing, organizing ensembles, commissioning works, and setting up performance situations is a good way to guarantee that you are playing enough. Getting with a group of people and playing together on a regular basis is a nice way to develop a concept and ensemble sound that has some personality. Also, when you have an opportunity to play with an ensemble, be sure to come to the table with a positive and cooperative attitude. People like this, and will be more likely to call you back or recommend you to others. Leave your baggage and self doubts at home! Of course, come prepared so you can really play your best, and take a proactive roll in the rehearsal and interpretive process. Join the team! In terms of marketing yourself, there are many ways to use the internet, web sites, email, and the various download organizations to seek further exposure. If your music is strong, people will notice. Word travels fast! Also, one playing situation generally leads to another. Someone might hear you play and recommend you for a subsequent gig. You will meet people along the way that may be able to help you at some point. You can start a website, take out an ad in a magazine, and join one of the many web-based organizations that promote artists. Record companies can be helpful in terms of distributing your music and gaining exposure. They can also be totally unhelpful if your music is not a priority to them. Choose a recording company carefully! Sometimes small is better. Sometimes doing it yourself is better yet!
AS: On the Thursday and Friday you also worked with the RNCM Big Band, who was working on a programme exclusively of your charts. How do you approach working with a student big band for the first time only a day or two before a concert?
BM: Well, I try to surmise the level of players I'm working with, and see what kind of shape the music is in based on what sort of preparation took place prior to my arrival. Like in any ensemble, I then try to address phrasing issues, inflection, dynamics, rhythmical considerations, and all the particulars that give the music a spark and personality. Hopefully the band has learned the notes before I get there. Sometimes I work with the rhythm section and make sure that they are providing a solid foundation for the band to build on that is working with the music. I play drums, piano, guitar and bass as well as woodwinds. Hence, I know the language of the rhythm section and can generally help out in a productive way. I try not to be too meddling, though. There is a fine line between being helpful and controlling. Also I make a point of stressing the importance of knowing the bigger picture in the music. That is, who has the primary theme, who is accompanying, what is the form of the tune, what is the harmonic structure. This is essential in order for everyone to be able to place their notes appropriately, and play the music with a sense of grace and forward motion. In the rehearsal process I select an order of songs, decide who is soloing on which songs, and generally be sure everyone is clear on the "road map" of each song. Improvised sections are generally opened up, so players need to know when and how they proceed to the next section. After all this is addressed, I try to surrender to whatever level we are at, and play the concert with a positive attitude, trying to lend support and a sense of fun to the musicians at hand.
AS: On Friday it was the first day of the RNCM International Wind Festival, this day was billed as an 'Education Day' during which you presented a talk about 'Jazz in the Classroom'. Could you give us your general thoughts about the way jazz education is developing (or not)?
BM: Jazz, or the art of combining improvisation with composed material has, in my opinion, reached a level of classical status. Composers like Duke Ellington, John Coltrane, Miles Davis, Thelonious Monk, Charlie Parker, and Dizzy Gillespie have created music that is timeless and vital. Like any other art form, jazz needs to be presented in music schools in such a way that students are able to grasp the bigger picture while also getting inside the music and studying it's various components. This coupled with lots of playing and writing opportunities makes for a fertile scene where musicians can congregate, work on the music, and hopefully develop relationships that will endure well beyond the school experience. Bands like Take 6, Pat Metheny's first band, and others developed around the university experience. I see this happening more and more around the world.
AS: What would be your advice to a student that wanted to improvise but hadn't done to date, for example someone that was trying to break in to improvising but maybe didn't have the confidence and didn't know where to start?
BM: Improvisation, like any other form of playing, involves having a vocabulary and a working mechanism that one is familiar with. I learned how to improvise by listening to jazz players play solos, and then trying to mimic what they were playing. In figuring out what notes were being played, I also considered what the harmonic, phrasing (dynamics, accents, pitch, vibrato, glissando, etc.) and rhythmical implications were. Eventually I was able to put a few phrases together that enabled me to create alternate melodies over fixed harmonic structures. Learning tunes that are typical vehicles for jazz improvisation is a good place to explore as well. Charlie Parker tunes are rich with information in the be bop style. Eventually you can start putting the notes together in the moment based on having practiced these tunes and various melodic shapes that work over those tunes. Again, transcribing solos of others and learning lots of songs is generally the route taken to achieve this.
Learning scales and patterns based on the various scales is also essential. You must be able to refer to a certain tonality without thinking about what notes are in the scale. Playing some piano was always essential to me. I was able to connect melody with various harmonic structures sitting at a piano. Check out my etude books (14 Jazz and Funk Etudes, 14 Funk and Blues Etudes, 15 Easy Jazz Funk and Blues Etudes, 12 Contemporary Jazz Etudes). They address the improvisational process in a specific way.
AS: Your saxophone sound, as well as that of your writing, is very distinctive. What are you aiming for with your tone? Who have been influences that have helped you achieve this? And what is your sax and set-up?
BM: Well, I try to make a nice sound on my instrument as well as with my compositions. I try for variety, shape, evolution, and forward motion in all that I do. The players whom I admire in this regard are Lester Young, Ben Webster, Coleman Hawkins, Sonny Rollins, Miles Davis, John Coltrane, Herbie Hancock, Hank Jones, and so many others!! Some of my favorite composers are Stravinsky, Mozart, Ravel, Thad Jones, Duke Ellington, Thelonious Monk, Herbie Hancock, to name a few. I've always played on Selmer mark 6 saxophones, generally of an older vintage from the mid 1950's. I play a Freddie Gregory mouthpiece (7*) with Vandoren V16 reeds (3 1/2).
AS: The Big Band concert on the Saturday was well attended and received, what were your thoughts about the band, sax section and concert?
BM: I thought the band did a good job considering all things. They certainly played the notes with a sense of enthusiasm and spirit. Like in most situations of this kind, the level of performance is contingent upon how much exposure and experience the players have had with this kind of music. A band that rehearses 3 times a week and has listening sessions once or more times a week, and is in a school with a rigorous jazz curriculum will play a certain way. The band that rehearses once a week in a school where jazz is considered an extra-curricular activity rather than a serious art form will play in a different way. Regardless, I try to make the best of whatever is happening.
AS: Moving on to the Sunday, the final day of the RNCM IWF and the RNCM Saxophone Day itself. You gave a public masterclass in the morning during which you played with the Sax Assault rhythm section that were booked for this session with you (Gwilym Simcock - piano, Ollie Collins - bass, Elliot Henshaw - drums). There seemed to be a tremendous 'buzz' from the audience as the four of you worked together for the first time ever, and in public! How did you feel at the time?! And if possible, could you advise us of a couple of the key points that you convey during a class such as this one?
BM: It was a pleasure to play with Gwilym, Ollie, and Elliot! They are experienced musicians who display a sense of openness and cooperation that is essential in a musical meeting of this kind. We were able to come together and find common ground off which to create some nice music. One of the essential elements in making this happen is having the ability to listen! My approach is to take the stance of trying to "understand" rather than "be understood". I leave lots of space in my playing so that I can hear what the other players are playing, and also afford them the space to respond to what I am playing. In theory, this should be a conversation. Good conversationalists are articulate, sensitive to others, and engaging. I think we achieved this in our performance.
AS: The Apollo Sax Quartet commissioned a new Sax Quintet from you that we all premiered on the Sunday evening, 'New England Autumn' a fantastic couple of pieces! What are your thoughts about the writing process, practicalities, and deadline! Rehearsal and performance of the Quintet........ There’s an easy question :)
BM: I've always been attracted to the whole writing process, especially as it pertains to creating an environment in which to play. It is always a challenging puzzle in which I try to consider who I am writing for, what sort of feelings I wish to convey, and any other objectives that may come into play. It was a pleasure to write for the Apollo quartet. They have a very distinctive sound and style that is quite broad and interesting. I thought the piece turned out well. I'm always writing for something or other, so the machine is generally well-oiled. The improvisatory process definitely comes into play with composition. A few notes generally suggest the next few notes, very much the way a conversation unfolds in the moment. The hard part is revising and tweaking the piece once the structure and general shape is in place. I'm quite obsessive in these matters.
AS: The Triple Bill Gala Concert on the Sunday night that concluded the RNCM Sax Day - Apollo Sax Quartet, yourself with rhythm section, and finally Sax Assault, quite a stylistic 'crossover'. What did you make of this?!
BM: I thought the Sunday concert was amazing! I like the concept of mixing different styles of music. Keeps things interesting. Good music is good music, and generally innovative music is the result of this very mixing process of different styles.
AS: My 9-year old son, Stanley, said the best part of the gig was when you and Simon Willescroft 'had a fight' when you guested in the last number that Sax Assault played!! Who won (only joking!)?
BM: Well, everyone won! Simon is an exciting player and he wowed the audience with his great playing. I did my thing, which involves more space and a different kind of intensity. I thought it fit together very nicely. I basically try to play the music at hand rather than compete. At this point in my life I don’t feel I have to prove anything to anyone. I try to play my best, that's all.
AS: Thanks Bob! As in 2002 when you visited Manchester, you've been an inspiration to everyone!! All the best with your week with the Yellowjackets at Ronnie Scott’s club in London, and safe journey back home to USA.
BM: Thanks Andy. And special thanks to you, Rob Buckland, the Apollo Sax Quartet, and RNCM for hosting such an inspiring gathering of musicians and great music.
news items and blog posts by Andy Scott