Kendrick Scott, at 26, is already one of the very finest drummers on the jazz scene, possessing an open mind, a beautiful feel for melody and tasty style that fits a myriad of situations. He's been working steady with major jazz artists since the day he graduated from Berklee College of Music in 1998. He's grateful for it, but thoughtful about the situation and aware of the consequences that can occur with both ego and complacency. But those attributes don't appear to be a part of Scott.
He's aware. He's sensitive to the perils of the music business, but passionate about the art form. He hopes to help spread the art of the music and its healing and peaceful message to the world through his band and his own record label, guided by his love for the music.
"I realize I have to take initiatives to do the things that I want to do. Sometimes musicians can be complacent about the way they feel about their music or they way think everybody should recognize them for what they do, says Scott. "Sometimes that doesn't happen. Sometimes you have to put yourself out there first, then people can come around.
What Scott has done is put himself out there with a sparking debut album, The Source, on his own World Culture Music label. It features some of the finest young musicians on the New York City scene, a collective band he calls Oracle. Scott's precise and tasty drum work has been heard with the likes of the Crusaders, Terence Blanchard, Dianne Reeves, Maria Schneider, Nicholas Payton, David Sanborn, Mark Turner and many others, and it's present here as well.
But also on display is Scott's brilliant skill as a writer, particularly as an architect of beautiful melodies, the likes of which are not usually associated with drummers. Some of the compositions were written years ago. The album, a mixture of exquisite melodies that are the foundation for heady improvisations, is one of the finest of the year so far. Don't confuse great melody for "soft jazz. This is good music. Period.
"I really thought the best way to describe my music was not with one word or category. But it is jazz. It does have a lot of jazz influences. I developed some words, like: the music is lyrical. It has space. The music has momentum. It has a lot of contour. That's the way I explain the music to people, rather than saying it's jazz, because jazz has so many subtitles, which is the great thing about it, but sometimes you wouldn't know what it is.
"Sometimes I want to describe it as modern jazz. But even I, as a drummer and as a musician, have a hard time knowing what people are talking about when they say 'new jazz.' Cool and bop, you know those things. As far as trying to describe 'newer' or the latest music, it's kind of like, 'What do we call our music. What are we supposed to say about it?' That's why I've tried to develop those terms. I'm still working on my list. I'm going to try and come up with some more so people can say, 'Oh yeah. That's right on the dot.'
We all have snapshots of things in our lives that we leaf through from time to time, whether from nostalgia or feelings of melancholy, or one brought on by the other. Snapshots of growing up, of landmark moments in one's life. Events. Trips. For the multi-talented Scott, it takes on a bit of a different meaning. He likens the new recording to a snapshot of where he is at this time. If it is, it will be a great thing to look back on in later years. It is a harbinger of good things to come.
Scott has been the drummer with Terence Blanchard for the last four years. "He's been encouraging me to write more and to get my vision forth. This record is out is due to him saying there's never a right time to take a snapshot of yourself, says Scott. "So many people wait. The way he puts it is: Somebody pulls out their Polaroid... say you're in Rio at the beach with sand in your eyes and all ... if you wait too long you're going to lose the moment. So let's take a snapshot of that moment and then move on to something else. That's what this record is. It's a snapshot of me at this point. I'm really eager to do a new record already. I'm thinking about it, compositionally and concept-wise."
The title cut is a composition Scott wrote that appeared on Blanchard's Flow (Blue Note, 2005) produced by Herbie Hancock. The album received two Grammy nominations, one for best instrumental jazz album and another for best instrumental solo for Hancock's playing on Scott's composition. That was a thrill for the drummer, but the song title, now CD title, has a deeper meaning for this Houston native whose musical roots stem from the church.
"When we were doing Terence's record, we happened to be sitting in the control room. We said, 'Herbie, you want to play?' He's like, 'Yeah.' And we were like, 'Whoa! OK,' says Scott with a grin. "And he came in and sight-read it and we did two takes. It was so amazing for me to be around him and see how he sight-read it and created his own vibe on it within an hour or so.
"But the significance of the title is: I think everybody has their own source. I never want to try to create absolutes. That also has to do with the concept of the band itself, Oracle. The band sends out messages; it relays a message to you like the Jazz Messengers. That's where I got the inspiration for the name, from Art Blakey's Jazz Messengers. The band is named Oracle, because we send out the messages to the people. We let you find your own answers. The oracle doesn't give answers, just questions for you to think about. The source is a general umbrella. It can be your god, it can be your family, it can be music, it can be art. It can be whatever. It all deals with your personal source.
From the opening of the first song, "View From Above, the CD sets moods, paints pictures. It has delicate intricacy, and moments of intensity. Scott propels it all with his typically tasteful drumming, knowing when to caress and when to create tension and bombast. Highlights include "Memories Wavering Echo, which Scott starts out on mallets, making the drums sound like ocean waves crashing on the shore. The bass clarinet of Myron Walden is evocative and pianist Aaron Parks gets sounds that, to these ears, could be that of dolphins or other life in the mysterious deep. Majestic and eerie at first, it swells into a musical exploration.
"Journey is a sweet melody with a memorable vocal by Gretchen Parlato, embellished by guitar and sax. "The Source starts out serenely and builds with intensity, even as the melody remains. Scott's drums beneath vocalizing and other solos are superb.
At no point are the drums the focus, and it would be difficult to guess that the CD comes from a drummer.
Says Scott, "One of my main focuses was to make an album that was like that. Something that's funny about me is, the more I grow within myself as a person, the more I realize who I am. When I think about my drumming, I don't think of it as being virtuoso, like a lot of my friends are. I think about my drumming more as supporting a vibe or supporting melodies and songs. I grew up in the church where the melodies and the messages were the main thing that needed to be supported. The drums and everything was subordinate to the message. That's why I play the way I do and I write the way I do. I'm always being subordinate to the melody and the song.
"Most of my songs are actually songs that I've written by singing them. All of the songs I write I try to make them melodic and singable. The audience can go home and whoever is listening to the CD, they can sing the melodies easily and be in contact with the vision.
When Scott made the decision it was time to record, he went for it. "It seems like everyone is sitting around waiting for a record. I felt that vibe from a lot of people. I didn't want to do that. So I said that when I do this record, I'm just going to do it on my own. I'm not going to worry about producers or worry about trying to get signed with a record company. I just wanted to put the CD out and put the music out. It also led me to start my label, World Culture Music, which is a collective label. We're all making our CDs the way we want to make them. We're all bringing them together under World Culture Music. It's not a traditional record label.
Scott says the CD is a culmination of music that he started writing as far back as high school. Over the years, he felt the compositions weren't really good enough to come out and not representative of something he might want to play on the drums. They weren't set up as a drum showcase. "But then, you grow older and you start realizing things. It's like, 'Wow. These are actually cool songs.' You just need to play the message, play the song, instead of worrying about trying to feature yourself.
Many of the musicians, too, came from early parts of Scott's life in Texas.
"The record is amazing because the guys on the record have come from all parts of my life, new periods and early periods, he says. "Robert Glasper [piano], Walter Smith [sax], Mike Moreno [guitar], we went to high school together at a school called the Houston School for Performing and Visual Arts. The school is very significant in that Jason Moran went there. Brian Michael Cox went there, he's a famous producer now, with Mary J. Blige and Usher, and writing songs for them. Also Beyonce Knowles went there. Texas is very fertile with talent.
From Blanchard's band there is Derrick Hodge [bass] and Aaron Parks [piano] and Lionel Loueke [guitar]. "I also went to Berklee with Lionel and Lage Lund [guitar]. Seamus Blake [sax], we have known each other for a while, but we never played together until the CD. Walter Smith was unavailable to finish the CD. So I wanted to call somebody that I love and I called Seamus. Myron Walden [sax] I've known for a while. Gretchen Parlato, we actually moved to New York at the same time.
Scott had musically influential friends back in Houston, but the first influences were his parents. His mother was a classical pianist, educated at the University of North Texas. His brother is a pianist himself and organist. His father played trombone throughout college. The family was heavily involved in the church and in gospel music. That was also the music usually heard around the Scott household.
Kendrick started drum lessons at age six and played the drum kit. But he laughs at how his fondness for drums progressed.