Tom Scott - Desire (1982)

ELEKTRA/MUSICIAN MONTH (FEBRUARY 2023)

Note: this release was originally purchased as an LP, later replaced by a CD.

As he explains in the liner notes, Scott and fellow musicians recorded this album live to two tracks on June 30 & July 1, 1982 in Hollywood. (The CD edition includes additional liner notes that were omitted from the vinyl packaging.) It's typical jazz/funk/pop crossover stuff that had been a successful formula for Scott over the previous decade: some funky originals, a pop tune cover, a ballad using Lyricon, and a crossover pop tune with guest vocals. While the material ain't the greatest, he rounded up some top-notch help in the studio:

Reviews/ratings:

• Billboard: "predictably broad-based fusion"
• Musician: "This is a record to put in the bank, not to listen to."
• The Rolling Stone Jazz & Blues Album Guide (1999): ★

Album chart peaks:

• US Billboard 200: #164
• Billboard Jazz: #5
• CashBox Jazz: #7
• Radio & Records Jazz: #2

Tracks: It's all pleasant enough except for Johnny B. Badd; my favorites may be the McCartney cover and the vocal tracks. (Scott was no stranger to McCartney as he provided the immediately recognizable soprano sax lick on the 1975 Wings chart-topper, Listen To What The Man Said.) Track 2, Sure Enough, sounds like it was lifted directly from a Pages album and that's a good thing, indeed.

• funky originals
  4. Stride
  5. Johnny B. Badd
  8. Chunk O'Funk
• pop tune cover
  7. Maybe I'm Amazed
• ballad using Lyricon
  3. The Only One
• crossover pop tunes with guest vocals
  2. Sure Enough (feat. Richard Page)
  6. Meet Somebody (feat. Stephanie Spruill)
• bland filler
  1. Desire

Personal Memory Associated with this CD: I began my infatuation with the Elektra/Musician label with the purchase of The Bridge by former E Street Band keyboardist David Sancious - a bluesy, New Age-y solo keyboard release that, tragically, has never been reissued on CD (I've uploaded a vinyl rip to YouTube for your enjoyment). That fantastic find was quickly followed by the purchase of this album because of my love for Scott's 1981 album, Apple Juice. Both E/M LPs got plenty of spins on my turntable when I was in high school. Both also included inner sleeves like the one pictured below and young Mark, an emerging fan of jazz music and avid reader of liner notes, was very intrigued:

Over four decades later, as evidenced by this month's series of posts, I remain intrigued.

Previously revisited for the blog:
Smokin' Section (1999)
Night Creatures (1995)
Reed My Lips (1994)
One Night/One Day (1986)
Target (1983)
Apple Juice (1981)
Blow It Out (1977)/Intimate Strangers (1978)/Street Beat (1979)

Tom Scott - One Night/One Day (1986)

Film/TV composer arranger Patrick Williams (you may remember him from the soundtrack to How To Beat The High Cost Of Living) started a record label named Soundwings and was lucky enough to land Scott for one of the label's first releases. The idea was to record direct to digital, no edits, essentially a live album in a recording studio with backing band and pops orchestra. It's not a typical Scott recording and it's just okay. But the problem isn't the performances - Scott never sounded better - it's the mostly lackluster material.

note: it was NOT Tom Scott's penultimate record.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #15
• CashBox Jazz: #16
• Radio & Records Jazz Radio National Airplay: #7

Tracks: I count three good tracks here: a smooth jazz take on the jazz standard Star Eyes (originally from from the 1943 film I Dood It), which features a tasty vibraphone solo from Victor Feldman, and the two cuts written by Scott himself, Nite Bloom and La La Land. Not sure why jazz musicians like to record their interpretations of Rodrigo's Concierto De Aranjuez, but that nonsense should have stopped after Miles Davis and Gil Evans did it. We've got an attempt here, anyway. Then the album closes with an 11½ minute original work by Williams titled Romances For A Jazz Soloist And Orchestra. Not surprisingly, it sounds like soundtrack music.

Personal Memory Associated with this CD: None with the music, but I always like to mention when I come across a smooth-sided CD jewel case and that's the case with this one.

Previously revisited for the blog:
Smokin' Section (1999)
Night Creatures (1995)
Reed My Lips (1994)
Target (1983)
Apple Juice (1981)
Blow It Out (1977)/Intimate Strangers (1978)/Street Beat (1979)

Tom Scott - Blow It Out (1977)/Intimate Strangers (1978)/Street Beat (1979)

UK Import

I discovered Tom Scott in the early '80s through his live album, Apple Juice. I eventually picked up most of his back catalog on vinyl, including these three albums. That made this 2013 BGO set an easy purchase decision.

Excellent remastering job on these plus a fantastic liner note booklet that includes full credits and original liner notes by Lee Underwood of DownBeat magazine as well as a comprehensive essay by Charles Waring, jazz columnist for Record Collector and contributor to MOJO and Wax Poetics. Well done.

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BLOW IT OUT (1977)
8 tracks, 42 minutes

Note: this release was originally purchased as a LP, later replaced by this CD set.

Not much jazz here; it's more like instrumental pop-rock-funklite performed by the finest session musicians in the business including Steve Gadd, Hugh McCracken, Eric Gale, Will Lee, Rick Marotta, Ralph MacDonald, Chuck Rainey, and one of my all-time favorites, Richard Tee who steals the show on many tracks. There's a bit too much use of the Lyricon over traditional saxophone for my taste, but I understand Scott's desire to be on the cutting edge of musical technology. Nevertheless, the whole thing is highly melodic and I enjoy the eight tunes here.

Reviews/ratings:

• CashBox: "Scott continues his march into the mainstream"
• Billboard: "a tender and melodic instrumental excursion"
• Record World: "an exemplary instrumental lp"
• The Rolling Stone Jazz & Blues Album Guide (1999): ★
• The Virgin Encyclopedia of Jazz (1999): ★★

Album chart peaks:

• US Billboard 200: #87
• Billboard Jazz: #5
• Billboard R&B: #39
• CashBox: #83
• CashBox Jazz: #2

Tracks: Track 1, Gotcha (Theme From "Starsky & Hutch"), was released as a (sadly unsuccessful) single, but almost all the tracks are good so I'm not picking favorites on this one. I do recommend skipping track 7, Down To Your Soul, not because it's a bad tune, but rather due to the fact that Scott decides to sing on it.

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INTIMATE STRANGERS (1978)
7 tracks, 47 minutes

Note: this release was originally purchased as a LP, later replaced by this CD set.

An odd attempt at a concept album, I really didn't like this album at first listen because the "suite" that takes up side one turned me off to the whole thing. Fortunately for me, I gave the album a few more listens and realized that the second half is quite enjoyable and the first half isn't as bad as I initially feared. The same great backing band as above, but this time there are also contributions from Toto members Steve Porcaro and David Paich, as well as a beautiful cameo from legendary bassist Jaco Pastorius.

Original liner notes here. Album press release below (click to enlarge):

Reviews/ratings:

• CashBox: "Scott's sax and lyricon work is up to his usual highest-quality standards"
• Billboard: "a multi-textured, multi-mood musical package"
• Record World: "a skillfully crafted blend of jazz, disco and funk"
• The Rolling Stone Jazz Record Guide (1985): ★

Album chart peaks:

• US Billboard 200: #123
• Billboard Jazz: #6
• CashBox: #123
• CashBox Jazz: #5

Tracks: Side one is a forced effort to musically describe a one night stand between a saxophone player and "that lovely lady on the front row" complete with occasional canned applause and crowd noise. Taking up the whole of side one on the vinyl album, the suite's three parts are titled Sudden Attraction, A Day & Nite Out Together, and Loving & Leaving. Not bad even though there's a bit of Scott's singing again; but I greatly prefer what was side 2 (tracks 1-4 on disc two here) which is typical Scott fare. The final track, Beautiful Music, which was co-written by Ralph MacDonald, features a tasty flugelhorn solo from Chuck Findley, and was released as a (sadly unsuccessful) single.

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STREET BEAT (1979)
8 tracks, 42 minutes

Note: this release was originally purchased as a LP, later replaced by this CD set.

Scott wrote or co-wrote all 8 tracks here and, frankly, the material just isn't as good as the other two albums in this set. Scott was writing quite a bit of music for movies and TV shows, so not surprisingly, some of the tunes sound like they come from that genre. One track actually does come from a movie: Car Wars was on the soundtrack to Americathon, a movie I've never seen, but stars such actors as Elvis Costello, Tommy Lasorda, and Meat Loaf.

Also, this album utilizes a somewhat different set of backing musicians from other albums in this set:

Notes on above credits:

1. I had to look up what an "ARP Quandra" is and discovered it is simply an analog synth keyboard. 
2. Notably, Scott brought in other vocalists here. Smart move.
3. I'm pretty sure that "BS trombone" is an abbreviation for "bass trombone" but can neither confirm nor deny.

Reviews/ratings:

• CashBox: "diverse, perceptive mainstream jazz offering"
• Billboard: "He has done better with previous offerings"
• The Rolling Stone Jazz Record Guide (1985): ★

Album chart peaks:

• US Billboard 200: #162
• Billboard Jazz: #7
• CashBox: #131
• CashBox Jazz: #8

Tracks: The best tracks here are We Can Fly and the title track, the latter of which was released as a (sadly unsuccessful) single.

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Previously revisited for the blog:
Smokin' Section (1999)
Night Creatures (1995)
Reed My Lips (1994)
Target (1983)
Apple Juice (1981)

Tom Scott & The LA Express - Smokin' Section (1999)

Note: this CD released using HDCD encoding.

Not the best Scott album, but there are a few memorable tracks among the drum machines.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Contemporary Jazz: #8

Tracks:
Best: TCB In E, the ten minute album closer recorded live at the Blue Note, Tokyo
Good: If I Could Cry, Just Takin' A Walk, The Beat Is On, I'll Still Be Lovin' You (yes, a cover of the Restless Heart song - reborn as a AC slow jam with vocals from Phil Perry)
Middlin': Smokin' Section, Lonely One, A Short Visit, Lost Again
Skip: Cruisin' Bayou

There's one track I couldn't categorize: track 5, Ode To Billie Joe with vocals by Patty Smyth. As you can imagine, it doesn't really fit on a smooth jazz CD, but Smyth's voice is perfect and the lyrics are still eerie as hell and I can't say I enjoy it but I want to listen to it over and over anyway.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Night Creatures (1995)
Reed My Lips (1994)
Target (1983)
Apple Juice (1981)

Tom Scott - Target (1983)

Note: this release was originally purchased as a LP (twice), later replaced by a CD.

A few weeks back, I posted about Prince's Around the World in a Day album and because the packaging was part of the attraction of that CD, I included photos of the contents, including the following:

An astute reader quickly pointed out to me that my CD was a "target CD." Since I'm not the sharpest knife in the drawer, I assumed this meant that my CD was originally purchased at a Target store - I bought my copy from eBay, so I have no idea as to the original point of purchase. It turns out that "target" refers to the design on the face of the disc (which resembles more of a gun sight than a target, but I digress). I won't go into the whole deal, but these target CDs are sought after for their alleged superior sound reproduction. If you're interested, there's more about target CDs here and here.

Curious, I looked at every CD I own and found only one other target CD on my shelves, Howard Jones' Dream Into Action. After perusing several lists of target CDs, I decided to purchase another to do an A-B type test against vinyl. And what better target CD to get than one titled Target? [rimshot] And that's how we got here today. Now on to the music.

It's not Scott's best album and since I was (am) such a huge fan of Apple Juice, nothing could possibly have lived up to my expectations. Some good tracks, but overall it's hit-or-miss. Downbeat magazine gave the album ★★★ and stated "There are some very tasty moments on this disc" while Thom Jurek over at allmusic.com writes "It's the sound of a restless musician who gets the pop game, or at least has gotten it and is not sure of where to shift his focus next." Sounds about right. Still, I like the album's good tracks enough to buy them 3 times.

As for the target CD sound, all I can testify to is the fact that this CD sounds better than my vinyl or any streaming music delivery system. And thus ends my target CD experiment, thanks for playing along.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #9
• CashBox Jazz: #5
• Radio & Records Jazz Radio National Airplay: #2

Tracks:  The top tracks are title number, a stellar cover of Ambrosia's The Biggest Part of Me, and Come Back to Me, an attempt at a soft R&B ballad with vocals from Kenny James. Less enjoyable are Aerobia and Lollopoppin'. Maria Maldaur makes an appearance on the cheesy, drum machine feature He's Too Young while Lee Ving lends his talents to the tune Got To Get Out Of New York. Neither of those two have aged particularly well, but are good enough for an occasional listen. I do enjoy the lyrics to Got To Get Out Of New York as they reference many jazz musicians' penchant for playing only standards without creating new music. Imagine me - listening to lyrics!

Personal Memory Associated with this CD:  While this album was released in 1983, I didn't purchase my first copy until 1984. I have specific memories of spinning this album in my college dorm room.

Previously revisited for the blog:
Night Creatures (1995)
Reed My Lips (1994)
Apple Juice (1981)

Tom Scott - Apple Juice (1981)

Japanese Import

Note: this release was originally given to me as a LP, later replaced by a ridiculously overpriced import CD.

Recorded live at The Bottom Line, New York City, over three gigs in January of 1981. All seats were $7.50. The Bottom Line, located in Greenwich Village, closed in 2004. The building now houses classrooms for New York University.

I've listened to this music many, many times over the decades; it was one of the first jazz-pop fusion albums I ever heard. And I heard it a lot. Even though I was underage, I could picture myself at The Bottom Line, listening to one of the live performances while having a cocktail. The musicians on this release were some of the best NYC session musicians available at the time (they sometimes recorded under the name Stuff) with standout performances from keyboardist Richard Tee and drummer Steve Gadd. Tee was a master of chord substitutions and could throw in some great chromatic lines. Steve Gadd plays like he has a third hand - it's tough to play that smooth and be that technically fluid. Allmusic gives it 3 of 5 stars and Scott's decision to play the Lyricon instead of saxophone on some solos may not have been the best idea, but I really don't care. It may not be the best jazz album, but I feel like it's my jazz album. It's a hard disc to find and isn't currently available on iTunes. That's a shame.

Reviews/ratings:

• DownBeat (★★★½): "arguably Scott's best album since Tom Cat"
• Billboard: "there are passages which transcend the output of many other contemporary artists"
• Record World: "an all-out New York funk blowing session"
• The Rolling Stone Jazz Record Guide (1985): ★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #123
• Billboard Jazz: #7
• CashBox: #122
• CashBox Jazz: #7
• Record World Jazz: #4

Tracks: 6 of the 7 tracks are either winners or they are so ingrained in me that I can't listen objectively anymore. My top picks are the title track, We Belong Together, and all of what was side 2 of the LP: Gettin' Up, In My Dreams, and Instant Relief. Track 4, So White and So Funky (featuring vocals from Dr. John), just doesn't do it for me. Never has. It was common around this time to include one vocal track on an otherwise instrumental LP so that there would be the possibility of a crossover hit (some jazz artists still try this from time to time). I've always skipped that track. Don't get me wrong, I like Dr. John, but his vocals and this song just don't fit here. It was released as a single (b/w We Belong Together) but failed to chart.

Personal Memory Associated with this CD: My friend Jim gave me this LP when I was about 16 years old. It wasn't his thing, but it really influenced my listening and began an appreciation for jazz music. This was one of those albums that was quickly dubbed to cassette so I could torture my friends when riding in my car. Definitely not what most teenagers were listening to in the early '80s. I like to think I was expanding my friend's musical minds, but I'm sure they were just humoring me because I was giving them I ride.

I listened to this album fairly consistently throughout high school and college and once dated a girl who I thought needed to appreciate this music as much as I did. I found a cassette version at a local Half Price Books, purchased it for a few bucks and gave it to her. Not long after we broke up, I revisited the store and that same cassette was right back where I had found it a few months earlier. I hope she got at least a quarter for it.

Previously revisited for the blog:
Night Creatures (1995)
Reed My Lips (1994)

Tom Scott - Reed My Lips (1994)

After releasing a CD which got back to his West Coast jazz roots (1992's Born Again), Scott returned to his blend of funk and smooth jazz on this release. Some of the music hasn't aged well, is over-produced and uses synth drums instead of real musicians. And while not as great as 1981's Apple Juice (my personal Tom Scott fav), it has some memorable work. It amazes me that, in the '90s, labels were continuing to release CDs that clock in at 40 minutes. Old habits are hard to break, I guess.

Billboard, January 22, 1994, p. 60

Album chart peaks:

• US Billboard Top 200: Did not chart
• Billboard Top Contemporary Jazz: #3
• Billboard R&B: #100
• CashBox Jazz: #2

Tracks: Some of the tracks are throwaway filler, but I enjoy most of the work here. There are more vocals than usual on a smooth jazz CD, but at least one of those songs, Sarah Sarah, is good. I also enjoy Every Day And Every Minute (with bass flute!), G.B.U., and Hollywood Walk. Even as cheesy as it is, I have to admit I like the song Walk A Mile. The throwaway filler includes Jungle Wave, which was doomed from the time someone picked that title. I could surely do without the self-indulgent final track, Saxapella.

Personal Memory Associated with this CD: None

Tom Scott - Night Creatures (1995)

Sorry to disappoint all my readers who are teenage girls (zero at last count), but the night creatures aren't vampires, they're musicians that play all night. Saxophonist Tom Scott doesn't play what I'd call smooth jazz; it's more like funk/pop jazz. And he's not afraid to take some chances. He even tries to tackle some hip-hop grooves on this release. You've heard Tom Scott before, he's played on more TV show themes and pop hits than you could count. He's played with McCartney, Sinatra, The Blues Brothers, Steely Dan, Quincy Jones, and on and on. Interesting trivia: his father Nathan wrote the famous theme to the TV series Dragnet.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: The title track is a energetic funk piece with lots of horns. The token vocal piece is Don't Get Any Better; it's pretty bland. One of the highlights of the disc is the track titled Bhop which, as the title implies, tries to blend hip-hop and bop. Scott doubles on flute on the piece and, even though its production sounds dated, it was adventurous at the time. There are two covers on the disc: Janet Jackson's Anytime, Anyplace and Sting's We'll Be Together. They're all right as far as jazz covers go, but they are the least adventurous tracks here. The track Yeah! is a blatant rip-off of Sly Stone's Dance To The Music, but I guess if you're going to steal, steal from the best. Overall, it's a solid release; there aren't any tracks that I feel compelled to skip.

Personal Memory Associated with this CD: None. I only recently picked up this disc.