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Some quotes from recent press articles about Maggy Scott...

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Music For America
 Fierce playing from a woman who demands (and deserves) respect
Reviewer: John Book, May 2007

The fiends only feen for more, and that more can be had through Germany's Maggy Scott, whose approach to the B-3 is anything but subtle. Talking To The World (ComaTone) is her doing exactly that through music, and this lady is fierce, whether she's playing something that sounds close to a gospel hymn, or taking things as far as possible with her brand of jazzy funk. What's also notable is her bass pedal work. As she's tearing the B-3 apart, she still maintains that low end, and that's very commendable. What I also found unique was when she brought in various percussionists, giving the album a more worldly sound, and then getting involved with the percussionists by speaking with them through her playing. The drummers are the ones adding the tones, only for Scott to find an easy place to get comfortable and let herself and her sounds be known. Fans of Chick Corea will like Scott's rendition of "Sometime Ago". There are also some classical touches in her playing, making her outlook on the B-3 very diverse when it's time to play, and oh can she play.

Reviewer: Rainer Bratfisch, May 07  Maggy Scott  Talking to the World   ComaTone 1403-1

For those who love the incredible sound of the “good old” Hammond B3 and only think of Jimmy Smith, Shirley Scott and others, have to change their minds: Maggy Scott, living in Germany and laureate of the “International Organ Award”, catapult the “old Lady B3” into completely new horizons. She is using the organ at its origin condition, means without any modification like echo, midi or sustain. Her unique pedal-board-technique enables her to define the length, the use of staccato or legato of the bass tones. By tipping the pedal board with both heels and toes she facile plays fast “walking-bass-lines” as well as different rhythms, such as straight, syncopated or dotted eighth or even sixteen notes. Also remarkable are her own compositions. In “Nahemia” you find her new technique well represented, and the Indian percussionist Ramesh Shotham is a congenial musical partner with this. “Space `n Five” is the most free piece on the CD. It is written 15/8-rhythm and the musicians sometimes play in four over it – so called polyrhythmic. She overcomes a temptation of being an epigone of the famous Jimmy Smith version of Lalo Schifrins “The Cat” for the benefit of her own expression and she is sparking a fire. Chick Corea´s “Sometime Ago” is arranged in a Latin feel with a touch Calypso: So loose and swinging. “Talking to the World”? You have to listen to!  

Jazzthing – Focus
Review: April 07  Maggy Scott

In the early nineties of the last century an instrument got rediscovered: The Hammond B3.

Soon organ players were back on the scene – the legends and also some young musicians, who discovered this fascinating instrument. One of them is Maggy Scott, who just issued her CD “Talking to the World” ( ComaTone) with influences of various music styles and a virtuoso performing. Maggy Scott, living in Frankfurt, invited amongst others Keith Copeland (drums), Ramesh Shotham (perc) and Zoltan Lantos (violin) and demonstrates – even with this huge and heavy instrument - how to build bridges from organ-jazz to Indian music. With her originals she combines the complexity of Indian Ragas with the Swing and Groove of Jazz at her Hammond B3. Not forgetting her influences of European classical music and further ethnic elements she realises a Cross-Over with Jazz. One of the basics of her playing is her studies in New York:” I went out to jam sessions in Harlem and got offered a steady-gig at “Shoeman´s Café” Scott remembers. “In some clubs they still had B3´s - it was amazing.”

Reviewer: Uwe Kirbach, April 07

Where are her ideas coming from? Maggy Scott combines sounds and music styles to her own Hammond-Groove, music like this was never heard before. On “Talking to the World” ( ComaTone) the organist includes drums, Indian and African percussion and a violin. Plus Indian vocal of Ramesh Shotham. A pleasant surprise when he starts his “tak-atak” in “Crystal Dance” after the organ lay down a nice introduction to lead in a structure of counterpoint with additional sounds of a mouth harp and different percussion played by Ramesh Shotham.

From time to time Scott´s music reminds of Bach and then again you hear influences of the Art-Rock-Heroes of the seventies, like Genesis. All that gives Scott´s music definitely a terrific personal touch. Her incredible timing, her groove and her marvellous foot pedal playing can lead you to a light-hearted and lively mood. Her large-volume and earthy sounding Hammond B3 is recorded excellent with a fine feel for space. All instruments are mixed effectfully and perfectly. Although the CD has its interesting various styles and influences and an outstanding recording, the most exiting part is, to listen to Maggy Scott´s fascinating playing.


“„She combines a virtuoso technique with a strict timing ... besides her individual technique she performs with a dramatically sense of music. Scott paints pictures of beauty on the organ and is profoundly inspirational to her fellow musicians”
(Frankfurter Rundschau)

Master of footpedal technique”
(Hildesheimer Allgemeine Zeitung)

“one of the most passionate players and a Master of dynamics”

“A firebrand on the Hammond B3”
(Westfaelische Rundschau)

“The Hammond B3 Organ played by Maggy Scott with a new and fascinating technique, especially on the footpedals. The incredible Accellerando on the footpedals is not existing in classical organ literature.”
(Frankfurter Allgemeine)

“As the highlight and conclusion of this jazz festival the Hammond Organist Maggy Scotts shows in a brilliant way, that Bach´sche Toccata and jazz are not contradictions.”
(Giessener Allgmeine)

“Passion and precision – Maggy Scott on the Hammond Organ and her percussion ensemble fills the audience with enthusiasm at a sold out concert at the city hall”
(Frankfurter Neue Presse)

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