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Andy Scott: 7 Dances

de https://www.andyscott.org.uk/seven-dances.html, visi­ta­do 09/2020

Andy Scott has a life­long pas­sion for music and over 30 years expe­rien­ce of initia­ting crea­ti­ve pro­jects. He is a highly ver­sa­ti­le con­tem­po­rary musi­cian, with a dis­tin­cti­ve saxopho­nic and com­po­si­tio­nal voi­ce that encom­pas­ses ele­ments of jazz, world and con­tem­po­rary clas­si­cal styles.

Seven Dances & No Looking Back

dura­tion  18:00

1. Hook

From the ope­ning hoc­ke­ting low E flats and shif­ting time sig­na­tu­res, the ten­sion then builds over a repea­ted rhyth­mic riff befo­re reaching the Latin/Jazz influen­ced ‘hook’.

2. Hip

A pie­ce that res­pect­fully uti­li­ses well known jazz phra­ses or motifs, and deve­lops them within a more ‘clas­si­cal’ con­text. Ins­pi­red by the pla­ying of jazz gui­ta­rist John Scofield.

3.Wire

The title is a refe­ren­ce to both a drum­mers brushes and gui­tar strings. At the back of my mind when wri­ting ‘Wire’ was the con­cept of spa­ce and sound that someo­ne like Pat Metheny uses at times.

4. Line

A quirky, direct and very short pie­ce whe­re the melody is pre­sen­ted by the quar­tet as a sin­gle line, extra lines gra­dually being added, befo­re a final brief ‘soli’ section.

5. Easy

An Ame­ri­ca­nism that refers to a rela­xed feel or sty­le. Tech­ni­cally this pie­ce isn’t easy to play, the art is to make it sound easy. Influen­ced by the cham­ber jazz of groups such as Oregon.

6. Film

The ope­ning sec­tion of Ennio Morri­co­nes clas­sic ‘Gabriel’s Oboe’ is the influen­ce behind this pie­ce, purely in terms of form and sha­pe. Some peo­ple say that a key ele­ment of the great film com­po­sers is an abi­lity to self-edit their music, get­ting straight to the musi­cal point.

7. Big!

The title refers to the chunky sound and voi­cing of the gui­tars. Influen­ced by the great jazz com­po­ser and pia­nist Chick Corea and his ground-brea­king works ‘La Fies­ta’ & ‘Spain’, which fuse ele­ments of music from Ame­ri­ca and Spain.

No Looking Back

Iro­nic in that this pie­ce repri­ses ele­ments of all seven dan­ces. For the first time each pla­yer is fea­tu­red with solo caden­zas, ideas being bound together by a rhyth­mi­cally free har­mo­nic back­drop. This is a time of reflec­tion and an inti­ma­te musi­cal con­clu­sion.

Seven Dan­ces and No Loo­king Back was com­mis­sio­ned by Aqua­re­lle Gui­tar Quar­tet and fun­ded by Sun­beams Musi­cal Trust.