Kim 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 charts, bringing her worldwide visibility.

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 before.

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