Scott Worthington


some 2016 favorites

Concert (tie)
Berlin Phil. Mahler 7 (August, Lucerne Festival)
Steve Coleman and Five Elements (December, The Blue Whale)

Croissant from a retired French baker in the Lucerne public market

Michael Pisaro/Reinier van Houdt: the earth and the sky (erstwhile)

mine (obviously!)

Hacker, Hoaxer, Whistleblower, Spy by Gabriella Coleman
[not published this year, but I read it this year]

Visual Art (tie)
Agnes Martin (LACMA retrospective)
Toba Khedoori (LACMA retrospective)

Pear Cranberry Crumble pie at Pie Hole (special mention that this is nearly historic as their pumpkin pie, my favorite kind of pie, was also unbelievable)

Ajay Atul in Hollywood

I was lucky enough to be one of the bassists in an orchestra that recorded music for composer team Ajay Atul. It was the first Indian-produced film to be scored in Hollywood. They made a cool little promo video about the experience/session/music and it includes a surprising amount of bass section footage.

January Updates

Alex Ross of The New Yorker named my recent Populist Records release one of 10 most notable recordings of 2015. A few weeks earlier, on his blog he called it “an exceptional disc, as bewitching as it is original.” Get your copy from Populist Records.

I’m playing a number of new pieces for bass soon, too. On February 5th, with wasteLAnd at Art Share LA, I’ll play a new version of Clarence Barlow’s …until… for solo bass along with a new version of Michelle Lou’s untitled three part construction. Come April, Randy Gibson’s new bass solo, Descending the Starfield Symmetry, will get it’s debut at the same venue. And then in June (date and location TBA), a new work by Michael Pisaro for bass and electronics paired with a new version of Ryoko Akama’s hermit for the same.

In composing news, on March 8th wasteLAnd will play a new piece of mine commissioned by the Library Foundation of Los Angeles as part of a series of events exploring the Oxford English Dictionary along with works by Nico Muhly and Anne LeBaron. My piece will feature a new poem by Ken Hunt created by erasing pages of the OED defining the word “noise.” Details at the Hammer Museum’s website.

October Updates

My most recent album, Prism, has gathered some nice reviews. Tim Rutherford-Johnson writes about it here. It also appeared on a few playlists: Steve Smith (Boston Globe) and Alex Ross (The New Yorker). You can stream the whole thing on Populist Records’s bandcamp page or buy physical copies directly from them.

In performance news, I’m excited to become a small part of The Industry’s new opera, Hopscotch. I did a little recording work for one of Andrew McIntosh’s pieces, but now I’ll also be a part of the finale playing the bass. It’s a bit shrouded in mystery at this point, but the LA Times have a little write up online.

Loadbang has just released a new album on New Focus Recordings featuring music by Alex Mincek, David Brynjar Franzson, Reiko Fueting, Alexandre Lunsqui, and William Lang along with my piece Infinitive. You can listen to samples and get links to buy it from New Focus’s website.

Finally, I was the recording engineer for the newest Populist Records release, Matt Barbier’s album Face|Resection. An entire album of solo acoustic trombone music that sounds neither solo, nor acoustic, nor like a trombone.