Jenni Olson Scott is an active orchestral and chamber music performer in the Los Angeles area. She performs regularly with the chamber group Orion Winds which she co-founded and has played with various orchestras such as Santa Monica Symphony, Redlands Symphony and the Pacific Symphony. She is currently principal flute with the Stockton Symphony and second flute with the Long Beach Symphony. Performers she has worked with include John Williams, Tony Bennett, Stevie Wonder, Dianne Reeves, Jerry Goldsmith, Terence Blanchard, Kelsey Grammer, John Lithgow, Quincy Jones, and Herbie Hancock. Jenni also teaches flute at Citrus College and Music Appreciation at Pasadena City College. She is also an accomplished soloist, and has performed concertos with the California State University Stanislaus Symphony, the Modesto State Theater Orchestra, the Henry Mancini Chamber Orchestra, The University of Southern California Wind Ensemble, and the Westchester Symphony. Shiny Kiss refers to stage lights bouncing and reflecting off a metal flute, and the sensuous way a flutist’s mouth embraces the embouchure. This simple hollow tube is the vehicle for such passionate expression, and just watching expert lips coaxing music from it can be a nearly voyeuristic experience. Published by Activist Music. www.alexshapiro.org (Program notes and poem by Alex Shapiro) Three Pieces for Trio was written for me by my dear friend Bear McCreary. He created a fun piece that utilizes the flute, accordion and bass in non-traditional ways. www.bearmccreary.com I had the privilege of performing the first movement of Daniel Kelley’s Suite for Piccolo and Piano at the 2005 Flute Convention in San Diego. It was such a fun experience that I decided to record the entire work. Published by Last Resort Music; www.lastresortmusic.com Cameo for Flute by Henry Mancini was written for James Galway. My wonderful husband arranged this dazzling work for flute and guitar. M.jay was written for the performing ensemble by my husband Mike Scott. www.mikescottguitar.com Bachianas Brasileiras No. 6 by Villa-Lobos is a challenging, but fun work for flute and bassoon. It is one of my favorite pieces of chamber music because it takes advantage of the myriad textures and timbres that these instruments can make. For Embers of Agni, Steve Gates looked to the fireflies and their environment as a starting point for the composition of the piece. He developed an imaginary mythology dealing with the origin of fireflies; that the glowing embers of a fire, as they slowly float up through the air, are suddenly transformed into a living firefly. The firefly continues to glow as the ember had before, but now moves and flashes at its own will- and flies away into the humid night. Some of these images appear directly in the music, such as the quick exchanges between the flute and clarinet that are reminiscent of the “flash signals” that fireflies send each other. The spirit of fire itself pervades the piece; sometime it is a vibrant, crackling fire, only to then be suddenly tempered to a calm, glowing bed of embers. (Notes by Steve Gates www.stevengates.com) Coraggio means courage. This piece by Christopher Caliendo is an energetic operatic tango whose Italian/Spanish melodies soar over powerful South American harmonies. This piece was originally for flute and guitar, but was arranged by Christopher specifically for Orion Winds, a chamber music ensemble I co-founded. (www.orionwinds.com) Published by Caliendo World Publishing. (www.christophercaliendo.com) Notes from Miguel Atwood-Ferguson: Mama Knows was written in 2004 for my friends the amazing Orion woodwind quintet. The title refers to the deep and profound wisdom that our mothers uniquely have and display in sometimes stubborn and how can I say...interesting ways! The inspiration stylistically came from my love of Maurice Ravel, Miles Davis, John Coltrane and McCoy Tyner among others. Mama Knows is intended to be fun and very funky. I hope you enjoy! Special Thanks: This project began because of the wonderful music that my friends and family were writing. I knew these pieces deserved to be recorded and heard around the world. Thank you to all the composers who trusted me with their music! Thank you to all the musicians who shared their time and talents. Of course, thanks to my mom for her continuous love and support. Special thanks to my husband Mike who has encouraged me with this recording since the beginning. And of course, a big thank you to Jamey Tate, who has been there every minute of the way. I could not have done this without his talent, humor and patience.