When Scott was 10 years old, he began playing upright bass in the public school music program. This evolved into an interest in electric bass two years later. Over the next three years, he would study privately with bassist Dave Crigger, and participate in the jazz band program in his high school under the direction of Peabody Conservatory graduate Richard Cosby. Shortly before his 16th birthday, Scott began teaching private lessons himself. During this time, he was also writing and recording music at home with a very basic home studio setup.

        Through his late teen years, Scott worked at a local music store where he mostly sold high-end bass equipment and pro audio / recording equipment. This experience afforded him the luxury of meeting many of the instrument and equipment manufacturers with whom he still has close ties today, like Zon Guitars and DR Strings. He was also networking amongst local musicians, building a reputation as a technically proficient musician and engineer.

        While finishing high school and continuing to work at the music store, Scott decided to record some of his early solo bass compositions at a "real" studio. He chose Fairfax, Virginia's Walton Recording, Inc., where he quickly befriended owners Shannon Walton and Bonnie O'Leary. A few months after completing the cassette-only "Triumph and Tribulation," Scott was asked to join the team at Walton Recording as a second engineer.

        This proved to be one of the biggest decisions of his career, as the experience gained and the connections made would elevate him to the upper levels of the Washington, DC area music scene. During his seven years there, Scott had the opportunity to work with some of DC's elite, including fellow bassist Gary Grainger, drummers Andy Hamburger and Charles Marvray II, keyboardist Dan LaMaestra, wind players Larry Seals and Scott Young, guitarists Dan Leonard and Michael Fath, and many more fantastic musicians. One of the most significant of these new colleagues was saxophonist / songwriter / producer J. Plunky Branch. Scott and Plunky developed a great working relationship and friendship in the studio, and Plunky's independent label NAME Brand Records went on to help release Scott's first three CDs.

        Scott continues to make music both on stage and in the studio today. He is recognized as a strong instrumentalist in the jazz-fusion genre, and still works frequently as a freelance bassist in the DC area. He has also developed his vocals skills to take his own music in a new direction. This new crossover genre - an adult contemporary amalgamation of pop, rock, jazz, folk, world, and funk - enables him to express himself in many more ways, and is accessible to a much larger audience. Golden Sound Studio is his recording studio where he continues to delight in the magic of making records. He feels very fortunate to make his living in the music business. His solo project, the Bill Hart project, and the Alexandria Kleztet all keep him challenged musically, and all put him in front of receptive audiences around the world. The studio gives him a place to develop other artists, and to produce original music to his heart's creative content. Looking ahead, it really feels like "The Best Is Yet To Come."