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| Kinsey, Scott |
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| As Tribal Tech ringleader explains, “Scott has been such a big influence on the direction that Tribal Tech has taken. Before we met him all we really had was a band that played tunes the way they were written out. But Kinsey was a major reason for us getting to that point of being able to throw the charts away and just jam right in the moment, because he could do it so well and pull it off every time. It wasn’t until I played with Scott that I realized how loose it can be and still sound totally together. Because he would be pulling out so much cool stuff to listen to that you didn’t need a note of written music. Kinsey’s such a great improvising musician but he also brings a real sense of form and harmony to it so that you can just jam freely and know that it’s always gonna sound cool.”
Whether he’s improvising strictly in the moment with loops, concocting provocative tones and textures or carving out new sonic territory on his Nord Lead synthesizer, Kinsey’s presence invariably elevates the proceedings of every situation he finds himself in. Aside from his ongoing role in Tribal Tech (including countless tours as well as appearances on 1992’s Illicit, 1993’s Face First, 1994’s Reality Check, 1999’s Thick and 2000’s Rocket Science), Kinsey has enhanced recordings by bassists Jeff Berlin and Matthew Garrison, guitarist Kurt Rosenwinkel, trumpeters Tim Hagans and Nicholas Payton and saxophonist-producer Bob Belden.
In recent years, he has produced tracks for singer and Earth, Wind & Fire frontman Philip Bailey (Soul on Jazz) and Weather Report co-founder Joe Zawinul (Faces & Places) and also appeared on soundtracks to such films as Ocean’s Eleven, Ocean’s Twelve, Code 46, Confessions of a Dangerous Mind, Brown Sugar, Smokin’ Aces and Analyze That!
Though he remains an in-demand sideman and valued session player, Scott finally steps out as a leader in his own right on Kinesthetics, his long-overdue solo debut. While he had kept busy composing, arranging and playing on other people’s projects over the years, the accomplished keyboardist and sonic manipulator eventually found enough downtime to focus on his project. “I just finally decided that I needed to get myself out there as an artist and an entity that exists in the world,” says the Los Angeles resident. “I feel like I’m out there all the time touring and doing sessions, but it’s not really reflecting my own thing. So getting my own stuff happening became a real priority for me.” |
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