01. Every Time We Say Goodbye
02. I Got Lost In His Arms
03. Lonely Town
04. Detour Ahead
05. Do You Know The Way To San Jose
06. Autumn In New York
07. I Love Paris
08. Cry Me A River
09. Caravan             play
10. Somewhere           play

Credits:
Marilyn Scott (Primary Artist, Vocals); 
Ken Peplowski (Clarinet, Tenor Saxophone); 
Paul Bollenback (Guitar); 
Gerald Cannon (Bass); 
Cyrus Chestnut (Piano); 
Willie Jones III (Drums).

Marilyn Scott has straddled several music styles over her career though she is better known as a pop or smooth jazz singer. Unfortunately, that background rarely serves a musician well who attempts a straight-ahead CD with seasoned mainstream players interpreting standards. Scott's alto voice is at best average and a bit nasal, while the use of frequent reverb is evidently to cover up for her shortcomings. Her grating inflections in each song reveal her primary music interests. Particularly annoying are Scott's draggy setting of Cole Porter's "Ev'ry Time We Say Goodbye" (which is misspelled on the cover) and the lightweight "Do You Know the Way to San Jose?" (a Burt Bacharach tune that was a hit for Dionne Warwick), which is recast in a bland bossa nova arrangement with a rather uninspired vocal. It is a shame that veterans like pianist Cyrus Chestnut, guitarist Paul Bollenback, and tenor saxophonist/clarinetist Ken Peplowski aren't featured more in these rather brief arrangements, aside from a sizzling "Caravan." The producers would have been better off writing a check to Scott and sending her packing after a few takes, while retaining the instrumentalists for their own record date. ---Ken Dryden, Rovi

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01. Round & Round
02. 'Round Mindnight Icebox
03. Spring Can Really Hang You up the Most        play
04. Moods
05. It's Alright                                  play
06. Ma (I'm Only Bleeding)
07. Share It
08. The Wilderness
09. Flame
10. Change

Personnel:
Marilyn Scott (vocals); 
George Duke, John Beasley, Patrice Rushen, Russell Ferrante (keyboards); 
Jimmy Haslip, Brian Bromberg (bass instrument); 
Vinnie Colaiuta (drums).

Throughout her career, singer Marilyn Scott has straddled a line between traditional jazz vocals and the poppier side of fusion. Innocent of Nothing tilts slightly toward the latter, with catchy R&B-based tunes like "Icebox" and "Round and Round" alongside an oddly overwrought version of Bob Dylan's "It's Alright Ma (I'm Only Bleeding)" that brings Scott Walker's melodramatics to mind. However, Scott's jazz side reasserts itself on her challenging take on the Thelonious Monk standard "Round Midnight," which Scott approaches with the rhythmic fearlessness of Jeanne Lee or indeed Monk himself. Throughout, producer and bandleader George Duke keeps the emphasis on Scott's vocals, using the tropes of contemporary smooth jazz (lots of fretless bass and electric piano, that sort of thing) while never letting the album devolve into soulless background music prettiness, even on lightweight tunes like "A Flame." In terms of Scott's vocal technique, Innocent of Nothing is something of a step back from 2004's Nightcap, a masterful collection of standards that features some of Scott's finest singing, but as a whole, this album shows that interesting work can still be done in the oft-maligned field of jazz-pop.---Stewart Mason, Rovi

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1. Loving You
2. I Always Think Of You
3. Give In
4. All Of The Above
5. Beginning With You
6. You Don't Know What Love Is
7. Walking With Strangers
8. Don't Let Love Get Away
9. Who's Looking For Me?
10. No Room For Hate
11. A Call For Peace

Marilyn Scott (vocals); 
Ray Fuller, James Hara (guitar); 
Patrice Rushen (piano, keyboards); 
Renato Russell Ferante (keyboards); 
Jimmy Haslip (electric bass, fretless bass, keyboards, percussion); 
Vinny Coliauta, Terry Lynn Carrington, Michael White (drums); 
Darlene Perry, Lori Perry, Carolyn Perry, Leslie Smith (background vocals).

The well-known adult contemporary singer debuted her powerful, poetic, and anthemic closing track, "No Room for Hate," in April of 2000 in front of 80,000 people at Equality Rocks, an all-star concert to benefit the Human Rights Campaign. The song and its message of compassion seem even more timely coming out just a few months after September 11. The rest of the time here, Scott's appealing voice tackles her usual spread of romantic lyrics and stylistic excursions to Brazil (the balmy, soundscape-enhanced samba-lite "I Always Think of You," co-written with and featuring guitarist Ricardo Silveira). She's been part of the Los Angeles studio scene for many years and always works with the cream of the crop. The inspirational, semi-gospel-flavored "Give In" features producer Russell Ferrante on keyboards, while Ferrante's fellow Yellowjacket, bassist Jimmy Haslip, plays on various cuts, including the dark-chorded, bluesy retro-soul meditation "All of the Above" (written by Brenda Russell and Michael Ruff) and an elegant cover of "You Don't Know What Love Is." This last cut was produced by drummer Terri Lyne Carrington and features a seductive percussion line and Patrice Rushen's restrained piano behind one of Scott's more emotional vocals (in a duet with Frank McComb). Most of the disc features live drumming, so the programmed groove of the otherwise appealing title track comes as a little bit of a letdown. "Don't Let Love Get Away" is a more overt gospel-flavored rumination on love lost, while "Who's Looking for Me" brings Scott together once again with keyboardist George Duke. With the exception of a few tracks, this disc is pretty much typical middle-of-the-road Scott; she could be the poster girl for adult contemporary singers but she should also take a cue from Randy Crawford and try some more up-tempo material. --- Jonathan Widran, Rovi

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