“Cossu wraps impressionistic music in refreshing wit”

-George Varga, The San Diego Union
Cossu’s set was decidedly upbeat in mood and tempo...A student of many indigenous North and South American and European musical styles, Cossu’s work is a marvelous blend of old and new, foreign and familiar. Alternately lush and punchy, his seven selections covered an expansive array of moods, colors, and tonal and rhythmic variances...

By combining elements of classical, jazz, rock, blues and various ethnic folk stylings, Cossu has created a distinctive and exuberant fusion sound that is thankfully free from the stock devices and cliches that all too often render this idiom dull and predictable.

“Oristano Sojourn” featured some splendid unison lines between piano and flute, while “Ibara” showcased a highly rhythmic Latin-derived style that was simply irresistible. In each instance, Cossu anchored the music with his forceful piano playing, which was deceptive in its simplicity.

“Cossu cooks at benefit in Billings”

-David Crisp, The Billings Outpost
Other than putting on red shoes, pianist Scott Cossu didn’t do anything particularly flashy for his concert here Friday.

He plunged into his opening number “Kalani Honua,’ with scarcely more than a nod to the crowd. His between-songs patter was low-key, with an occasional low-key joke. His work with percussionist Scott Dosier was seamless but not showy.

Mr. Cossu, obviously, is content to let his fingers do the talking. The man can flat play, and he did...

“Jazz in the Valley 2000”

-Jeanette Housner, Victory Music Review
...A word or two about the Scott Cossu Trio. Listed as “New Age,” his music falls into and between several categories: folk, jazz, world, R&B, and classical. Cossu, from Olympia, says he composes music from a deep place inside him, music that connects with our spiritual side, music deepened by his recovery from severe injuries when he was struck by a speeding car in the late 1980s. With multiple facial and scull fractures, blindness in one eye, paralysis in his right hand, severe brain trauma, amnesia, and a six-month coma, he was given a 40% chance to live. Dressed in shorts at the piano in front of me, he plays a 1937 barrelhouse number for piano, drums, and flute (!), the joy he feels for life shining from his face. This is truly a most incredible man and marvelously powerful music.

“Cossu takes jazz, ethnic & classical to a New Age“

-Mark Anderson, South Sound Sounds
...Cossu speaks often of a “world concept,” which he says is the message of his music. His use of rhythms, scales and modes of traditional ethnic peoples in his music is intended, he explains, to bring the audience into contact with an unfamiliar culture in a pleasing way. He hopes that will help build a respect and appreciation for cultures foreign to his audience, and that that appreciation will allow them to see that beauty and peace are much larger than one’s own cultural interpretation. Seeing the expanded scope of beauty and recognizing one’s place in it, he hopes, will lead his listeners to take one more step, to what he calls “combining the beauty and the doing,” rethinking one’s actions in the busy, narrow-minded hubbub of one’s own culture.