Scott Allman

Scott Allman hails from Illinois and is all set to make a big splash with his debut CD ‘Generations’. It’s ten, self penned, tracks indicate that he has a flair for melodic contemporary jazz and the first single from the album demonstrates this to perfection. Titled ‘Flurry’ it features the ubiquitous Darren Rahn on sax whose own new release, ‘Speechless’, will hit the streets on March 27.

Scott Allman is certainly a bright new talent so for more visit his website at www.scottallmanmusic.com - smoothjazztherapy.com

I have to admit that I have not always given the smoother side of jazz a fair shake. A critic that admits a bias is somewhat rare but so is an artist that is as genuine and sincere as Scott Allman. Smooth jazz is a sub genre or to be factually correct a radio format that carries with it some musical baggage best left on the curb. I resigned my membership is the pseudo-intellectual jazz elite club with the intent on focusing on the music at face value. With smooth jazz I have come up with the "Three Bears" litmus test based on reader feedback.

Scott Allman is a relative newcomer to the contemporary scene. Allman is a promising keyboardist and composer and is joined by Darren Rahn on the 2011 release Generations. "Flurry" opens the release with a nice moving bass line and a infectious lyrical development. Allman lets the tune develop all most organically as nothing seems forced or remotely approaching the self indulgent vibe often associated with this side of the contemporary jazz street. A somewhat emotionally charged piece with Darren Rahn turning in a spot on performance. A release of texture and depth, an intriguing three dimensional sonic depth of field has Generations on a slightly different harmonic path than the usual smooth jazz offerings served up for critical batting practise. "Mag Mile" makes nice use of the ensemble cast and has Scott Allman performing in what might be considered somewhat of a throwback mode to the early days of Bob James or Ramsey Lewis but still has Allman expressing his own unique voice. There is a more defined contemporary edge that occasionally creeps in with guitarist John Kregor. The pretentious latte-driven vibe of what used to pass for the smoother side of jazz is dialed back to the point of virtual non-existence. "Renaissance" is another tune where Allman shows off his keen sense of melody and harmonic development. An incredibly solid ebb and flow allows Generations to develop as a more conceptualized release and less like a dozen instrumental cuts desperately seeking commercial airplay.

So the "Three Bears" test?
1.) Too much in the way of vocal tracks that seemingly have no place.

None. There are no vocal tracks.

2.) Too overly programmed to aid the rhythmically challenged.

Minimal use of programming and what you find is used to great effect to enhance the recording, not cover it up.

3.) Too generic, bland and boring.

A multi layered release of texture with a captivating ebb and flow - highly entertaining.

Long story short - This release is just right! - criticaljazz.com

Once again, the gates to our contemporary/smooth jazz community are opened to a new and exciting artist, keyboardist Scott Allman, who has released his sparkling debut album, Generations, as proof positive of his qualifications to be among our promising up-and-coming artists who truly come bearing gifts.

With saxman Darren Rahn lending his skills throughout the project, there is plenty of moving and shaking and swagger going on which blends well with all of the groove-filled hooks and melodies.

Not only does Allman demonstrate playing skill but, having written and produced all of the material, he shows a clear grasp of the mechanics of the contemporary jazz vibe, and he knows and obviously feels what’s at the very core of good, solid music. It’s easy to hear that, to feel that, and to be there with him on that. Tracks like the tight and funky “Flurry,” the joyfully up-tempo “Camille’s Joy,” the melodically catchy mid-tempo “Mag Mile,” and the pumped up mover “Thin Ice” with Darren Rahn’s punctuating sax chilled-out “Home Again” all testify to that…and there’s more where those come from.

The fabric of this debut, made up of a little soft rock, a little pop, a little world, and a lot of smooth, makes for a fine listening experience. The fact that these are ten original tracks is the icing on the cake.

I understand that, even as I write this, Allman is working on his next project. If he is anywhere in the ballpark of this current project, he should be able to continue on his quest to find his way into the hearts and souls of the many jazzers who embrace the efforts of artists who actually do care about their work. – Ronald Jackson - thesmoothjazzride.com