Scott's profile

Scott Patterson is a pianist, composer, lyricist and librettist of incomparable talent. Pittsburgh Tribune-Review describes Patterson’s playing as, “a masterly blend of virtuosity, singing style and beautiful voicing.” His blend of classical, soul and rock music is futuristic, emotive and luxuriant.
Since 2012 Patterson has toured with Camille A. Brown & Dancers. He is contributing composer of the Bessie Award winning Mr. TOL E. RAncE and Brown’s critically acclaimed work, BLACK GIRL: Linguistic Play and ink. His compositions for each work have been performed for audiences at numerous venues, such as, Lincoln Center, The Kennedy Center, Belfast Festival at Queen’s, White Bird, and The Joyce Theater.
Patterson’s work extends beyond dance. He is the co-founder and Artistic Director of Afro House, a music-driven performance art house based in Baltimore, MD. At the center of Afro House stands the Astronaut Symphony, a contemporary music ensemble that creates symphonic performance art pieces, such as the Afrofuturistic opera-ballet, Afro Punk Ballet and the sci-fi tone poem, Ebon Kojo: The Last Tribe. Patterson also serves as the Music Director of the organization’s Afro House Concert Series. A Baltimore-based concert series that celebrates the city’s extraordinary maker scene. The series features Afro House ensembles (including the Astronaut Symphony), special guests, and local food, beverage and tech makers.
During the Williamstown Theatre Festival Patterson worked with award-winning playwright Marcus Gardley as music director. He also served as music director for a production of Dan Dietz’s Clementine in the Lower 9, and has worked with Tony Award winning music director and composer Daryl Waters at the Dallas Theater Center.
Patterson is the recipient of the Creative Baltimore Fund Project Support Grant, an award funded by Baltimore Mayor Catherine Pugh and the Baltimore Office of Promotion and The Arts. He also the recipient of Baltimore Councilmen Ryan Dorsey’s Artist/District Award.
He studied under Richard Fields at the University of Cincinnati’s College-Conservatory of Music and Phillip Kawin at the Manhattan School of Music (MSM).

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