Andy Scott

Artist Photo

Andy Scott

The word hope may have only four letters but it’s one of the biggest in the English language. Without hope, we’re adrift, left with nothing to pull us forward, no reason to go on. For Andy Scott, who has seen his share of joy and heartbreak, hope—as the saying goes—springs eternal. He finds it in both the light and the darkness, and he’s enough of a believer in its powerful qualities that he’s adopted the word as the title of his newest album. Hope is the follow-up to Andy’s critically acclaimed Don’t Tempt Fate, and its 10 songs—all written and produced by the New York-based artist—pack an intoxicating emotional wallop. Commenting on his previous release Jazz Times Magazine proclaimed that Scott “has an uncommon ability to stimulate universal themes and get to the very heart of the matter.” With Hope, which refines that album’s take on Scott’s sophisticated blues-tinged, after-hours vocal jazz, he’s gone even deeper. “I think there’s a lot of good in the world,” says Scott, “and I would like to think that people wake up in the morning and do their best. I’m very hopeful, and I think that that comes through in the songs.” Recorded in New York in a single, marathon session, Hope features Scott on vocals and piano, Noriko Ueda on bass, Jon Herington and Chieli Minucci on guitars, Tony Kadleck on trumpet, David Mann on saxophones, Dan Aran on drums and Cafe on percussion. Scott began crafting some of the material several years ago and revisited it for the new album, in addition to penning several songs for the occasion. Although he sees a cohesive line tying together the tracks, there was no single catalyst that inspired Hope’s direction—the compositions in their final form simply reflect the state of Scott’s life and thoughts at the time they were recorded. “Whatever I’m exposed to affects me and I take in,” he says. “I live with in a little apartment across the street from a church that has real bells that go off starting at 8 in the morning, and I don’t have to walk but a block and a half to get my coffee. I sit around and write songs or play or listen. That’s what influences me. I’m a guy who is really driven to write and record every song he can before he dies. That’s my fear, that I won’t get all of my music recorded.” From its opening track, “Learning to Fly,” the poignancy of Andy Scott’s newest music becomes immediately evident. The buoyancy of its melody, Scott’s upbeat vocal and its lyrics of resilience belie the reality of the song’s roots in Scott’s mother’s long-term illness. “I turned [the sadness] into a song of hope,” he says, establishing the album’s theme, “and it became poetry. It reflects the feeling of a parent seeing their child trying something new on the swing set all by themselves and maybe falling a couple of times.” Both “Love and Pain” and “Far,” the next two tracks, are “a bit edgy,” says Scott. He reveals that he drew some inspiration for these and other tracks on Hope from the late jazz singer and trumpeter Chet Baker. “Chet would take his time with a melody,” says Scott. “He’d slow something down. And he was always talking about love. The thing I like about Chet was he was always perfectly broken. There was a tragic beauty in him, in the way he played and sang, a tragic poetry in his expression that I love.” On the melancholy “Nowhere to Go,” the singer, in his smoky, late-night tone, “is talking about a memory,” says Scott. Next up in the title track, “Hope,” which, ironically perhaps, is rendered as an instrumental—no words are needed for the positivity to shine through. “Look At Me,” explains Scott, emerged following an evening when he returned to an old, familiar haunt only to discover the only thing really familiar about it was the décor—everything else had changed. But like many of Scott’s songs, there’s a silver lining to the story: “I had a life, I had everything/Then love came along, now look at me,” he sings, his bluesy piano chords and the guitarist’s silky riffs the perfect complement to his cozy vocal. “My dad likes that song,” Scott says, and it should be noted that said dad is one Al Rosen, a former Cleveland Indians superstar who was voted the American League’s Most Valuable Player in 1953. “Surrender” features soaring saxophone licks from David Mann (who has played with Sting, Pat Metheny , James Taylor and many others), and is followed by “Until Then,” Scott’s favorite song on Hope. “I just really like that I captured what it was like waiting for someone you love who doesn’t love you yet or doesn’t know you love them,” he says. “I started tripping out on a guy who loves his girl and the only place that he can really be with her is in his dreams.” On “Springtime Blossoms,” another song inspired by his late mother, Scott explores the purity of renewal: “Mother Nature takes good care of her children everywhere/every time the seasons change, thoughts remain,” he sings. That track and “Far” provide a showcase for the expressive trumpet of Kadleck, whose work has graced recordings by Frank Sinatra, Michael Jackson and many others. The album ends with a reprise of the tune that started it, “Learning to Fly,” this time as an instrumental. Prior to the recording of Hope and Don’t Tempt Fate before it, Andy Scott released several albums under the uni-moniker of Goat, in a more rock-oriented sound. Although he received quite a bit of recognition during that stage of his career, and may yet revisit it, Hope, he says, is reflective of his present artistic leanings. “I want to perform on grand pianos and take an acoustic approach,” he says. Don’t Tempt Fate opened up new worlds to Scott—among those championing his new sound was the popular jazz singer Madeleine Peyroux, who contributed vocal and guitar to that 2008 album and invited Andy to open some of her shows. In addition to issuing his last two albums, many of Andy’s songs have received prominent placements in television (“CSI,” “Aliens in America, “Reaper” “Standoff,” and “Wildfire”) and film (I Know What You Did Last Summer, Super Cop, Return to Sleepaway Camp, Dinner Rush, Waltzing Anna, Approaching Union Square). His version of the Malvina Reynolds folk classic, “Little Boxes,” has been used as a ringtone for the Showtime series hit, “Weeds.” WACBIZ is thrilled to be working with Andy and yet another masterpiece of a record!

Don't Tempt Fate
Get It While You Can Favorite License Buy
Lost in the World Favorite License Buy
Out of the Blue Favorite License Buy
Lover's Apology Favorite License Buy
Rainy Day Favorite License Buy
Fishin' Favorite License Buy
Lost But Not Forgotten Favorite License Buy
Don't Tempt Fate Favorite License Buy
Learning to Fly Favorite License Buy
Who Doesn't Call Favorite License Buy

What Magic Is This
The Things We Leave Behind Favorite License Buy
Fired Somebody Favorite License Buy
9000 Favorite License Buy
Blowing Kisses at the Moon Favorite License Buy
Dance Brazil Instrumental Retro Favorite License Buy
Will You Come Find Me Favorite License Buy
Never Gonna Love Again Favorite License Buy
Valium and Soda Pop Favorite License Buy
Martini Dreams Favorite License Buy
What Magic Is This Remix Favorite License Buy

Look At Me Favorite License Buy
Nowhere To Go Favorite License Buy
Surrender Favorite License Buy
Hope Favorite License Buy
Springtime Blossoms Favorite License Buy
Learning To Fly Favorite License Buy
Learning To Fly instrumental Favorite License Buy
Until Then Favorite License Buy
Love and Pain Favorite License Buy
Far Favorite License Buy