Cindy Scott’s technical mastery and commitment to lyrical expression have earned her fans worldwide. She has been steeped in roots music, jazz, gospel, and Southern soul. She plays flute, guitar, and percussion, and is a composer and lyricist.
Scott has lived across the southern U.S. and in Germany, Mexico, and Hungary. She has master's degrees in both jazz performance and international business. She came to Berklee from New Orleans, Louisiana’s rich music scene and continues to perform with A-list Big Easy musicians.
- Career Highlights
- Tours and performances in U.S. cities such as New York, New York; Los Angeles and San Francisco, California; Austin, Texas; and Seattle, Washington; and in countries such as Germany, Switzerland, Mexico, Turkey, and Kazakhstan, among others
- Appearances at festivals around the world, including the New Orleans Jazz and Heritage Festival (Louisiana), the Summer Solstice Festival (Michigan), the International Jazz Festival (Kazakhstan), the Festival Internacional Jazz de Verano (Mexico), and the North Sea Jazz Festival (the Netherlands), among others
- Recordings include Ripple (in production), Historia (2014), Let the Devil Take Tomorrow (2010), and Major to Minor (2002)
- Performances with Mark Murphy, Karrin Allyson, Roseanna Vitro, Randy Porter, and Ellis Marsalis, among others
- Level III certified in somatic voicework in the Lovetri Method ™
- M.M., University of New Orleans
- M.B.A., University of South Carolina
- B.A., Louisiana State University
In Their Own Words
“My mom and dad were great musicians and teachers, and I pretty much learned by osmosis what it meant to do both well. It inspires me equally to perform an amazing concert and to help a student find the path to their greatest musical self. I believe that music is a bridge between people and a doorway to other side of consciousness, and its importance to the wellbeing of the individual and to society in general cannot be overstated."
"I am particularly interested in the mechanics of the human voice. Although I rely on a modeled functional approach to vocal technique, my teaching style is very individualistic. All my students are different. They learn differently, their anatomy is different, their musical tastes are different. I really want to help my students figure out who they are."
"I like to think that I teach beyond the realm of genre, that the methods I impart give freedom, strength, tonal control, and, most of all, expressiveness to singers to use their voices in a healthy way in whatever style they choose to perform."
"Berklee is such an invigorating place to work and teach. Every day I come to Berklee, I am reminded of the incredible depth and breadth of musical engagement and talent that is in the world. I am thankful to be inspired to 'bring it' every single day."