Cindy Scott lives in New Orleans, she taught at the University of New Orleans, before embarking fulltime in pursuit of her music career and she got her Masters in Jazz Studies from the University of New Orleans. As her new album Let The Devil Take Tomorrow opens with a cover of the 1962 hit song “You’ve Really Got A Hold On Me,” penned by Smokey Robinson and recorded by The Miracles featuring Smokey Robinson on lead vocals, the N’awlins flavor is evident, as Geoff Clapp’s drums introduce us to the tune and guitarist Brian Seeger (also served as producer) finds that sweet spot where blues and jazz deliciously merge. As Scott sings, “I don’t want you / but I need you,” Grammy Award winning saxophonist Ed Petersen blows a soulful response. Cindy Scott’s take on the old R&B classic is reinterpreted through jazz befitting of the “Big Easy,” always a dangerous game to play when comparisons to icons such as Robinson are inevitable, however, Cindy Scott and her musicians are successful in putting enough of a Gulf Coast twist on “You’ve Really Got A Hold of Me,” that they have made this song their own.

On her original swinging tune “The Boy Can Play,” Cindy Scott gives her musicians lots of room with an elegant guitar solo courtesy of Seeger, followed by a Petersen emotive solo, lots of percussion from James Shipp and Tommy Sciple sets the tempo with his strong bass playing.

Cindy Scott is at her best on the Hank Williams, Sr. song, “I Can’t Help It,” a love ballad, as her phrasing is tender and she is clearly in the moment as she reminisces about a love that has slipped away.  Her vocals are tender, the percussion is quiet and pianist Vadim Neselovski is elegant. 

Listen for organist Brian Coogan’s outstanding performance on the Cindy Scott / Brian Seeger collaboration “Start Again,” instrumentally the prettiest song on the album Let The Devil Take Tomorrow. Continuing the theme of a love departed, now Scott makes an effort to reconcile with her lover as she asks, “Is there a way into your heart / Is there a chance that we could start again?” Scott demonstrates a strong connection to the song she co-wrote with Seeger.

The album closes with the Sammy Fain / Irving Kahal song classic “I’ll Be Seeing You,” which is introduce by a long, elegant and breathtaking piano solo by Vadim Neselovski, who continues to accompany Cindy Scott throughout the song. It is ironic that this song has endured for so many years and is timeless, when the Broadway production for which it was written, Right This Way, only lasted for fifteen performances. Cindy Scott appears to be more at home with tender songs such as “I’ll Be Seeing You,” and she has surrounded herself with musicians who are great at creating a romantic backdrop for her emotive vocals.