Scott Fisher and 1 a.m. approach

Scott Fisher And 1 A.M. Approach
Step Into the Future [1 A.M./BDC Records]

The stellar piano rock of Scott Fisher is both refreshingly original and a hell of a lot of fun to listen to. Fisher’s chops are rooted in jazz, soul, reggae, and rock, but his style is truly his own. Songs like the swinging “3,000 Years” come on like gangbusters while balancing nicely with sensitive ballads like “Forgot About the Stars.” Fisher’s capable vocals float somewhere between Jack Johnson and Chris Martin and his lyrics are well thought out and insightful. I could name ten bands on the radio that Fisher could hold his own next to, but none that he is directly derivative of. Here’s hoping that the young pianoman can break through to the next level like Coldplay or Keane — if all goes well, we’ll be comparing new artists to him next year!
- Robbie Gennet

http://www.keyboardmag.com/This-Month/Reviews
- Keyboard Magazine

Review by John D. Luerssen
Portland, Oregon-bred piano-pop purveyor Scott Fisher is a striking talent as evidenced by this impressive eponymous set. "Nothing," the disc's opener, is a biting, mournful number that has the allure of Keane and the boldness of Ben Folds. If Fisher frequently draws comparisons to the latter it may only be because so few folks do the attitudinal piano thing this well, but his knack for songcraft is abundant and clear on keepers like "Humility" and "Tragedy Untold." Aside from having able pipes, Fisher is quite imaginative as he bounces from a Spoon-like thumper called "Chemicals" to a jazzy, ska-inflected rant "Struggle" with ease. Even if he's showing off on the heart-gushing "Interlude," he's insanely skilled. Fans of keyboard pop from Joe Jackson to Folds to Five for Fighting will not be disappointed. - John D. Luerssen

Material: Combining keyboard-driven songs with a committed vocal presentation, Scott Fisher comes across as a spirited piano man for the new millennium. Alternating his vibrant tenor with a high-pitched falsetto similar to Coldplay’s Chris Martin, Fisher’s magnetic voice and keyboard work serve as the highlight of his material.

Musicianship: Though Fisher prefers to perform with a full band, his songwriting is so strong that most of his material could function well without any accompaniment. His bandmates do know their place in the performance, however, and each musician fills in the space around the prominent keyboard and vocal lead. Dunham effectively helps Fisher hash out the melody of each song and both Voth and Yafa contribute just enough bass and percussion to give the material a low end without compromising the songwriting.
Performance: Fisher’s performance relied strongly on the energy emanated by the music. Conversing with the crowd between songs and physically pouring himself into his live performance, Fisher maintained a genuine enthusiasm throughout.

Summary: Scott Fisher is a skilled musician, vocalist and songwriter who has created a marketable hybrid of coffee shop piano-pop and commercially constructed soft rock. Due to the assortment of influences meshed into his material, Fisher’s unique style shrugs off genre classifications that pigeonhole many artists of this caliber.

––Scott Perham - Music Connection

Review by John D. Luerssen
Portland, Oregon-bred piano-pop purveyor Scott Fisher is a striking talent as evidenced by this impressive eponymous set. "Nothing," the disc's opener, is a biting, mournful number that has the allure of Keane and the boldness of Ben Folds. If Fisher frequently draws comparisons to the latter it may only be because so few folks do the attitudinal piano thing this well, but his knack for songcraft is abundant and clear on keepers like "Humility" and "Tragedy Untold." Aside from having able pipes, Fisher is quite imaginative as he bounces from a Spoon-like thumper called "Chemicals" to a jazzy, ska-inflected rant "Struggle" with ease. Even if he's showing off on the heart-gushing "Interlude," he's insanely skilled. Fans of keyboard pop from Joe Jackson to Folds to Five for Fighting will not be disappointed. - John D. Luerssen

Review by Keyboard Magazine – April 2005
This Portland based singer/songwriter makes his eponymous debut in this keyboard-driven album with two acoustic guitar credits making only sparse contribution. Instead we’re treated to acoustic piano on almost every track, with lots of Rhodes, Wurly, and tasteful synth. Charismatic vocals adorn tunes cast from solid functional harmonies that cast a nod at Billy Joel and Dave Matthews. . Carl Lumma

- Keyboard Magazine

Review by Keyboard Magazine – April 2005
This Portland based singer/songwriter makes his eponymous debut in this keyboard-driven album with two acoustic guitar credits making only sparse contribution. Instead we’re treated to acoustic piano on almost every track, with lots of Rhodes, Wurly, and tasteful synth. Charismatic vocals adorn tunes cast from solid functional harmonies that cast a nod at Billy Joel and Dave Matthews. . Carl Lumma

- Keyboard Magazine

http://daslob.blogspot.com/2007/12/my-all-star-cds-of-2007-best-of-rest.html

Scott Fisher & 1am Approach Step Into The Future
Perhaps the best album of the year by an unsigned artist. A gifted singer, songwriter and keyboardist who's niche is a pleasing blend of reggae, pop and jazz. - daslob.blogspot.com

It seems strange to vote an under the radar indie record as one of the best pop albums of the year, but Scott Fisher draws on all of the greatness from piano-driven pop of the past (from Billy Joel to Ben Folds) and spins it with his own unique, half-jazz/half-reggae inspired sound. An album of great tracks and great songwriting, you'll be hearing more about this one before 2007 is over. - Mitch Michaels


My Story
Piano-driven singer/songwriter pop is one of the hardest genres to break into, it seems. At any given moment, you could argue that there is only one such song or artist being played on popular radio. With the Gavin DeGraws and Ben Folds and…who’s that guy who sang “Bad Day”?...anyway, with the fleeting mainstream success of those artists, you could say it’s a genre that, once it hits, has a very short shelf-life.

Aside from all this, I would argue that the fact that SOMEONE is always hitting it big with this formula means that, for years, decades, this has been and will remain a popular style of music. Scott Fisher is the latest guy giving it a stab, and critics are already comparing him to piano men like Folds, Coldplay’s Chris Martin, David Gray and even the master of the genre himself, Billy Joel. Can such a young guy and his new backing band live up the hype?

Their Story
Scott Fisher grew up in a French-American family in Portland, Oregon, a musical hotbed if there ever was one. Young Scott was trained in classical piano while he was still in grade school, and by high school, he’d formed his first band with future Leftover Salmon/Comotion bassist Tye North.

Fisher moved to Boston to attend college and, while there, joined his first touring bands, a couple of local jazz-fusion groups. By 2000, his university years behind him, Fisher moved back to Portland to work on his solo career. He recorded and self-released an EP that earned the young singer a groundswell of support. He was invited to play a showcase at the 2002 Winter Olympics in Salt Lake City, Utah.

In December of 2002, Fisher self-released his first full length, Fleeing Towards Creation. The set would feature Fisher’s old friend Tye North lending some bass tracks as well as local acid-jazz guitarist Bob Dunham. Though the album can only be considered a regional favorite, it received positive reviews and the supporting tour earned Fisher a good deal of fan support.

In early 2005, Fisher released his self-titled second album. Scott Fisher was his first album to receive national distribution, released on his own label (Scott Fisher Music). The record received even more positive reviews than Fisher’s first set, drawing comparisons to popular and respected acts like Ben Folds and Keane. Fisher also became a minor hit on Triple A radio.

Fisher returned to the studio to work on his third record in 2006, though he wouldn’t be alone on the project. His music had caught the ear of producer Jesus “Chuy” Flores, who had done mixing work for folks like Latin star Ricky Martin and Badly Drawn Boy and had even been nominated for a Grammy award on the Salsa album Sola by India. Fisher also decided that his third album would be his first backed by a full band. He brought back former studio contributor Bob Dunham, as well as Enrique “Bugs” Gonzalez, ex-drummer for the Mexican rock outfit Jumbo. Bassist Matthew Voth would round out the new studio band, dubbed The 1 a.m. Approach.

Recently, the band released their first single for the album, “Step Into The Future”. The video can be viewed on the band’s MySpace page. They are also working on launching a newly designed official website.

The Album
On June 26, 2007, Scott Fisher Music released Step Into The Future, the third album by Scott Fisher and his first with backing band 1 a.m. Approach. The album is available on CD as well as digitally on iTunes. - www.411mania.com

http://daslob.blogspot.com/2007/12/my-all-star-cds-of-2007-best-of-rest.html

Scott Fisher & 1am Approach Step Into The Future
Perhaps the best album of the year by an unsigned artist. A gifted singer, songwriter and keyboardist who's niche is a pleasing blend of reggae, pop and jazz. - daslob.blogspot.com

by Jo-Ann Greene
Singer/songwriter/pianist Scott Fisher's background is in jazz fusion, a style he's never left behind, even as he's moved further and further into the pop and rock world in recent years.

Rock critics grabbing for comparisons have latched onto artists as far afield as Joe Jackson and Billy Joel, Coldplay and Dave Matthews, Ben Folds Five and Maroon 5. But none of those begin to capture the unique beauty of Step into the Future. To do so, one has to look in an entirely different direction, towards the SoCal reggae scene, and perhaps to Sublime at their most sublime.

Famously, ska (reggae's earliest form) was a mis-step by veteran Jamaican big band musicians attempting to play R&B. Accepted wisdom, but still a giant leap if you play the two genre's records side by side. But on this set, Fisher provides a clutch of missing links, beginning with "Step into the Future", a gently infectious jazz-pop number, with an exacting rhythm and prominent bass line, that with slight shifts in emphasis step straight into the syncopation that defines reggae.

The societal battering lyrics shout roots to the rafters, while surely the reference to "rebel music" is a nod to the Bob Marley song of the same title.

"Step" provides reggae's origins in jazz, "Shades of Blue" its debt to R&B. The backing female vocalists and the exuberant trumpet solos evoke both Motown and Kingston, while the instrumental break swirls in a touch of British invasion. This is 60s pop at its genre bending finest.

R&B evolved into funk in the late 60s, which simultaneously saw the birth of true reggae, and "State of Mind" celebrates both with a musical marriage, with best man, guitarist Bob Dunham, bringing a gift of progrock to the ceremony. Dunham sidles into psychedelia on "No Remedy", a number that continually swings from prog to deep roots, and whose lyrical plea for unity to build a better world is ripped right out of the roots and culture songbook. And lyrically, "3,000 Years", "This Song", "Chains of Time", and with slight alteration "See the Day" all echo of classic cultural songs, while on the latter Fisher sounds to be channelling Stephen Marley.

But Fisher isn't Jamaican, nor is Steps, for all its island elements, a reggae record, but an inspired, and subtle cross- over. For at its core, this is a set of exquisite songs, whose themes, both cultural and romantic, are thoughtful and universal, never diving into the all about me and my feelings that currently define the singer-songwriter genre.

The music is overwhelmingly gorgeous, with the entire set showcasing Fisher's fabulous musical talents, from rollicking jazz to dreamy passages his piano work is exquisite, his vocals stunning throughout, with "Android Love" arguably best showcasing his luminescent falsetto. A beautifully crafted fusion set that every reggae, pop and jazz fan should adore. - allmusicguide

by Jo-Ann Greene
Singer/songwriter/pianist Scott Fisher's background is in jazz fusion, a style he's never left behind, even as he's moved further and further into the pop and rock world in recent years.

Rock critics grabbing for comparisons have latched onto artists as far afield as Joe Jackson and Billy Joel, Coldplay and Dave Matthews, Ben Folds Five and Maroon 5. But none of those begin to capture the unique beauty of Step into the Future. To do so, one has to look in an entirely different direction, towards the SoCal reggae scene, and perhaps to Sublime at their most sublime.

Famously, ska (reggae's earliest form) was a mis-step by veteran Jamaican big band musicians attempting to play R&B. Accepted wisdom, but still a giant leap if you play the two genre's records side by side. But on this set, Fisher provides a clutch of missing links, beginning with "Step into the Future", a gently infectious jazz-pop number, with an exacting rhythm and prominent bass line, that with slight shifts in emphasis step straight into the syncopation that defines reggae.

The societal battering lyrics shout roots to the rafters, while surely the reference to "rebel music" is a nod to the Bob Marley song of the same title.

"Step" provides reggae's origins in jazz, "Shades of Blue" its debt to R&B. The backing female vocalists and the exuberant trumpet solos evoke both Motown and Kingston, while the instrumental break swirls in a touch of British invasion. This is 60s pop at its genre bending finest.

R&B evolved into funk in the late 60s, which simultaneously saw the birth of true reggae, and "State of Mind" celebrates both with a musical marriage, with best man, guitarist Bob Dunham, bringing a gift of progrock to the ceremony. Dunham sidles into psychedelia on "No Remedy", a number that continually swings from prog to deep roots, and whose lyrical plea for unity to build a better world is ripped right out of the roots and culture songbook. And lyrically, "3,000 Years", "This Song", "Chains of Time", and with slight alteration "See the Day" all echo of classic cultural songs, while on the latter Fisher sounds to be channelling Stephen Marley.

But Fisher isn't Jamaican, nor is Steps, for all its island elements, a reggae record, but an inspired, and subtle cross- over. For at its core, this is a set of exquisite songs, whose themes, both cultural and romantic, are thoughtful and universal, never diving into the all about me and my feelings that currently define the singer-songwriter genre.

The music is overwhelmingly gorgeous, with the entire set showcasing Fisher's fabulous musical talents, from rollicking jazz to dreamy passages his piano work is exquisite, his vocals stunning throughout, with "Android Love" arguably best showcasing his luminescent falsetto. A beautifully crafted fusion set that every reggae, pop and jazz fan should adore. - allmusicguide

High Times Review
5/07

In baseball, players are assessed based on their possession of "five tools:" Hitting for average, hitting for power, fielding, running, and throwing. Players possessing all five are a rarity and therefore considered elite.

Baseball and music are not interchangeable, however, if you'll permit the analogy as a means of scouting talent, let's apply the "five-tool" system to musicians with the categories: Singing, singing with power, playing an instrument, jamming on that instrument and, um…I don't know, how about…doing all of the above while drunk.

I don't believe Scott Fisher was drunk on Tuesday. Nonetheless, he certainly possesses the former four infinitely more important "tools." Actually, drunkenness can be learned and Fisher might pick it up as time goes on, so let's put "charisma" in its place as the fifth tool.

I believe Fisher has charisma. Tall and attractive, he interacted well with the crowd and, for the most part, all eyes were drawn to him during performance.

However, important as this might be (particularly when your name IS the band's name) charisma is ultimately hollow if it can't be backed up by skill. Fortunately, in this case, it can and it is.

As a singer, Fisher is more than merely competent; he's a dynamic vocalist capable of conveying emotion and power. At his best Tuesday night, Fisher sustained an intriguing neo reggae/funk vibe during songs like "No Remedy" and "Step Into The Future" that evoked Sting in his years with The Police.

Perhaps most impressive was the level of musicianship. Friends since high school, Fisher (who plays keyboard) and guitarist Bob Dunham appeared very comfortable together and both impressed by elaborating on songs with unexpected jams and interplay.

Make no mistake; this is pop music. Yet it's pop music that is nourished and supported by strong roots in jazz, blues and rock.

In my world of arbitrary assessment markers and instant gratification, Fisher has passed the tests and is ready to ascend to the next level of success. Unfortunately for Fisher (and even more so for me) in the end, my opinion is meaningless. He now must hit the road, press the flesh, smile for the cameras (and any other hackneyed phrase you'd like to toss in) and hope for the best.

And who knows? Perhaps some day down the line Scott Fisher & 1 a.m. Approach will be reminiscing about their first visit to New York City - the meager crowds and cheap motels - backstage before a sold out show at Madison Square Garden.

http://www.hightimes.com/ht/entertainment/content.php?bid=630&aid=3 - High Times

High Times Review
5/07

In baseball, players are assessed based on their possession of "five tools:" Hitting for average, hitting for power, fielding, running, and throwing. Players possessing all five are a rarity and therefore considered elite.

Baseball and music are not interchangeable, however, if you'll permit the analogy as a means of scouting talent, let's apply the "five-tool" system to musicians with the categories: Singing, singing with power, playing an instrument, jamming on that instrument and, um…I don't know, how about…doing all of the above while drunk.

I don't believe Scott Fisher was drunk on Tuesday. Nonetheless, he certainly possesses the former four infinitely more important "tools." Actually, drunkenness can be learned and Fisher might pick it up as time goes on, so let's put "charisma" in its place as the fifth tool.

I believe Fisher has charisma. Tall and attractive, he interacted well with the crowd and, for the most part, all eyes were drawn to him during performance.

However, important as this might be (particularly when your name IS the band's name) charisma is ultimately hollow if it can't be backed up by skill. Fortunately, in this case, it can and it is.

As a singer, Fisher is more than merely competent; he's a dynamic vocalist capable of conveying emotion and power. At his best Tuesday night, Fisher sustained an intriguing neo reggae/funk vibe during songs like "No Remedy" and "Step Into The Future" that evoked Sting in his years with The Police.

Perhaps most impressive was the level of musicianship. Friends since high school, Fisher (who plays keyboard) and guitarist Bob Dunham appeared very comfortable together and both impressed by elaborating on songs with unexpected jams and interplay.

Make no mistake; this is pop music. Yet it's pop music that is nourished and supported by strong roots in jazz, blues and rock.

In my world of arbitrary assessment markers and instant gratification, Fisher has passed the tests and is ready to ascend to the next level of success. Unfortunately for Fisher (and even more so for me) in the end, my opinion is meaningless. He now must hit the road, press the flesh, smile for the cameras (and any other hackneyed phrase you'd like to toss in) and hope for the best.

And who knows? Perhaps some day down the line Scott Fisher & 1 a.m. Approach will be reminiscing about their first visit to New York City - the meager crowds and cheap motels - backstage before a sold out show at Madison Square Garden.

http://www.hightimes.com/ht/entertainment/content.php?bid=630&aid=3 - High Times