The reed player was busy recording with some of the most prominent names in jazz, including Billie Holiday and Fletcher Henderson. In his teens, he joined a trio that included his brother Lloyd Scott (a drummer) and began playing in his first band. From 1922 to the end of the decade Cecil was the leader of a group that featured Lloyd. They eventually moved from Ohio to Pittsburgh, and then to New York City where they took up residence at the Savoy Ballroom. This was a highly-coveted gig for players. The group recorded under the names of both brothers and included players like Bill Coleman, Frankie Newton, Roy Eldridge and Roy Eldridge. As sidemen, they also had Johnny Hodges, a brilliant saxophonist/clarinetist, and trombonist DickyWells. This group also featured Chu Berry, tenor saxophonist. Cecil won the battle for leadership in 1929 with his brother. The group continued to tour and record from New York under the whip of the reedman. Cecil was severely injured in an accident that caused his musical career to stop. From 1932-1933, he resumed his musical career as a member in a group led by Ellsworth Reynolds. He recorded several years with Teddy Hill in 1936 and also recorded with Clarence Williams. He was a member the Teddy Wilson orchestra, 1936 and 1937. He recorded the music of the pianist leader and also served as a backup unit for some of Billie Holiday’s best recordings. In the early 1940s, he performed with Alberto Socarras. He also participated in goodtime swing sessions with pianist Willie “The Lion” Smith and trumpeter Henry “Red” Allen. Near the end of 1942, Cecil’s drive to become a leader was again evident. He tried to keep his big band going while also touring with Cecil Scott and His Bright Boys. This trio included musicians such as Hot Lips Page, a modestly-endowed trumpeter, and Art Hodes, a classic jazz and ragtime pianist. He recorded and performed with Slim Gaillard, guitarist and songwriter. He returned to rotation in 1950 as a sideman, and was a member of Jimmy McPartland’s bands. He continued to lead small groups until his passing. Cecil did play the larger baritone, but most of his solos were recorded on clarinet or tenor. He was a nervous, aggressive and jumpy player. Cecil Scott can still be called a successful recording artist. He had credits on 75 albums by 2000. He was a great leader, and his Victor session included “Springfield Stomp.” These recordings were later re-released under the name Cecil Scott and His Washboard Band by Columbia. Cecil has ample solo space on the Smith and Allen recordings. Allmusic
