Scott's résumé is as impressive as they come. Like Green, Chestnut and Terrasson, he broke in with vocalist Betty Carter at the age of 18, spending a couple of years in jazz's most demanding academy. Recordings with Wynton Marsalis, Roy Hargrove and Bobby Watson followed, and he was an important participant on tenor saxophonist Joe Henderson's classic tribute to composer Billy Strayhorn, "Lush Life." Lately, he's been keeping company with tenor giant Sonny Rollins and bass master Ron Carter — a good way to ensure the rapid growth of a young player.

With his idiosyncratic, Thelonious Monk-influenced style, Scott is an ambitious player who has obviously listened carefully to Bud Powell, McCoy Tyner and Wynton Kelly. Though he draws material from widely divergent sources — "The Beautiful Thing" includes the "I Love Lucy" theme, the spiritual "This Little Light of Mine" and tunes by Ornette Coleman, Wayne Shorter, Kenny Dorham as well as six originals — the album sustains an overarching feel, as if each tune was written to flow into the next.

Besides veteran drummer Victor Lewis, who plays on 10 of the album's 12 tracks, "The Beautiful Thing" is a showcase for some of the best young players on the New York scene. Bassist Dwayne Bruno accompanies Scott effectively throughout, as does drummer Dion Parson on his two tracks, while saxophonists Kenny Garrett, Branford Marsalis, Jesse Davis and Ran Blake, guitarist Russell Malone and percussionist Steve Kroon are all utilized so that their individual sounds add just the right tonal color. Garrett's alto sax work makes the most lasting impression, blending beautifully with Marsalis' tenor on Kenny Dorham's standard "Blue Bossa," bringing to mind Jackie McLean on Scott's funky, minor keyed "The Heretic," and catching just the right plaintive edge on Ornette Coleman's early classic "Lonely Woman."

Picking the right collaborators and interesting material is one mark of Scott's maturity. And of course, there's his piano playing, which dazzles as often as it surprises, with sudden rhythmic shifts or oddly dropped chords. Players like Scott one reason why mainstream jazz is in such a healthy state.

— Andrew Gilbert

Andrew Gilbert is a regular contributor to Salon.