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Scott Yanow

One will not attempt to be considered a jazz article writer like you might to be always a doctor or an attorney. It just appears to happen. I was created on Oct 4, 1954, in the Bronx, NY. From enough time I had been two until I had been 11, I resided in Long Isle, New York, and I spent another five years surviving in the wastelands of 1000 Oaks and Newbury Recreation area, 30-40 miles beyond LA. I spent my junior high and senior high school years extremely interested in sports activities history (especially football) and I liked memorizing baseball figures. My 1st significant memory space of jazz was viewing The Five Pennies, a 1959 film starring Danny Kaye and Louis Armstrong that got Kaye playing the part of cornetist Crimson Nichols. The screenplay was mainly all fiction but there are a few memorable moments and a lot of music. The like and joy from the music can be emphasized and tough to withstand. I understood that I needed to try out trumpet after viewing the film; pity I cannot get a good note from the horn! I must say i discovered jazz quickly before I converted 16. I noticed in the LA Times that there is a Dixieland radio present (Firmly from Dixie, that was managed by Benson Curtis) on Mondays through Fridays, 5-6 p.m. I figured it might be happy music, therefore i started hearing it frequently, was quickly connected, and was shortly taping tracks off the air. A couple of months afterwards I started hearing Chuck Cecil’s Swinging Years on the air, which released me to golf swing. The next season when I began attending Cal Condition College or university at Northridge (as an accounting main), I used to be lucky enough to become put into a wing of the dormitory that housed music artists. While they paid attention to Don Ellis and Pal Rich, I used to be playing Dukes of Dixieland information; the music artists knew for certain which i was crazy! I had been basically just into pre-1945 jazz (stylistically), essentially Dixieland and golf swing, but I had formed an open brain. I find out about such music artists as Charlie Parker, Dizzy Gillespie, and Thelonious Monk and was interested in how their music differed from the sooner types of jazz. 1 day while perusing a utilized record shop, I discovered a $1.99 Charlie Parker LP that, among other songs, included “White colored Xmas.” At least I understood that melody (actually if I experienced not really heard about “Groovin’ Great” and “‘Circular Midnight”) therefore i bought the record and performed it several times every day for weekly. At first I possibly could not really enjoy the music, but by the finish from the week the gates got opened up and I became quite starving to understand about and hear all eras of jazz, a desire which has still not really been fully pleased! Within per month I had been listening to Kilometers Davis’ Live Bad and John Coltrane’s Live in the Town Vanguard Once again (offering the screaming tenor of Pharoah Sanders). My musician close friends, whom I quickly exceeded evolution-wise, now understood for sure which i was nut products! I started university in Sept 1971, shifting to SAN FRANCISCO BAY AREA to attend SAN FRANCISCO BAY AREA State University or college from January 1974 to June 1975 and returning to LA to complete up at Northridge, graduating in January 1977 having a B.S. level in accounting. Although I did so not really consider any significant jazz classes during this time period, I had been always learning even more about the music, discovering all the different eras on information and beginning to head to concerts. Among the 1st events I visited was in the Hollywood Dish in 1972 and it acquired a significant lineup: the Count number Basie Orchestra, Ella Fitzgerald, Stan Getz, Cannonball Adderley, the Stan Kenton Orchestra, and Oscar Peterson (playing single)! While in SAN FRANCISCO BAY AREA I used to be a normal at Keystone Korner, where you can buy ten seat tickets (useful at differing times) for $20! Viewing Rahsaan Roland Kirk, Woody Shaw, and Mls Davis’ three-guitar fusion music group had been thrills. I came back to LA in mid-1975 just because a university friend of mine, Brian Ashley, acquired plans to start out a music mag known as Record Review. The theory was for the publication to feature all sorts of music, particularly rock and roll, jazz, traditional, and country. I used to be to end up being the jazz editor (essentially beginning at the very top). Although I also worked well more often than not full-time as an accountant (a profession in which I had developed indifferent success because of my general insufficient interest!), I had been the jazz editor of Record Review during its lifetime, which led to 33 problems between January 1977 and June 1984. Because of the traditional section ultimately folding as well as the rock and roll department selecting to spotlight rock, by 1983 Record Review was the world’s just rock and jazz publication! I wrote specifically for Record Review into 1983 and, when it had been obvious the publication (which rarely do better economically than breaking also) might expire ultimately, I started sending videos out to various other publications and began freelancing. I started composing for Cadence in 1983 (a link that’s still solid) and managed to get to the masthead of Jazziz by its 6th issue. By enough time Record Review finally ceased procedures, I had been also composing for Downbeat and quickly I would become adding to Coda and Jazz Discussion board (out of Poland). For an extended period I did so a funny jazz trivia quiz (known as Syncopation) for Jazz Instances along with periodic evaluations and interviews. After that it had been my philosophy never to only write for just one journal but to greatly help jazz at all I could. They have led to some jealousy between some of the mags (I finished up selecting Jazziz, where I create regular reissue and publication columns, over Jazz Instances and Downbeat), however the better editors haven’t acquired a issue with my prolific character. Besides, none from the jazz periodicals pay enough to truly have a article writer be exclusive! Nowadays I’m a normal contributor to Jazziz, Cadence, the L.A. Jazz Picture, Coda, the Jazz Survey, Jazz Now, Totally Jazz, the Mississippi Rag, and two brand-new publications: Globe Jazz and Parrot. Furthermore, I’ve created over 150 liner records, occasionally do unique projects for brands (such as for example informing them what they personal!), and write press biographies. I first found out the All Music Guidebook while (to drop a name) I had been at Leonard Feather’s townhouse 1 day. I had been impressed by what size the jazz section is at the general guidebook and I needed to become included. Ron Wynn (the jazz editor at that time) and Michael Erlewine had been thinking about my involvement plus some of my testimonials converted to the initial edition from the All Music Instruction to Jazz. By enough time the second model arrived in 1996, I used to be the jazz editor and helped organize the large work. I really believe that the 3rd edition is the foremost jazz reference publication ever or, at least (at over 1,400 webpages), certainly the heaviest! I had been asked to submit a summary of my niche areas and my “desert isle list.” Essentially I pay attention to all sorts of music, so long as it’s jazz! My passions stretch extremely far inside the idiom, from 1920s jazz, golf swing, Dixieland, and bebop to great, hard bop, soul-jazz, all sorts of avant-garde and free of charge jazz, fusion, and the countless styles which exist today. Also bordering on jazz, I pay attention to blues of most eras, Western golf swing, and early R&B. If the music stresses improvisation, has imagination and originality as two of its primary goals, and it is multi-colored and filled with chance-taking, it passions me! When asked what information I would try a desert isle, I respond that I’d have a few dozen information that I’d under no circumstances noticed before! There’d become no point getting along Kilometers Davis’ Sort of Blue when one understands every take note by center, and you can find few higher thrills than finding exciting fresh jazz. But if pressured to create a dream set of music that I’ve noticed and really like, here are a couple from the thousands of items which I cannot perform without (restricting, generally, the options to only a couple of from any particular head although cheating using a few boxed pieces): Desert Isle Picks Cannonball Adderley, Cannonball Adderley Quintet in SAN FRANCISCO BAY AREA, Primary Jazz Classics Howard Alden/Dan Barrett Quintet, ABQ Salutes Buck Clayton, Concord Jazz Henry “Crimson” Allen, Globe on the String, Bluebird Gene Ammons/Sonny Stitt, Employer Tenors, Verve Louis Armstrong, Vols. 1-4, Scorching Fives & Sevens, Columbia Louis Armstrong, Satch at Symphony Hall, Decca Count number Basie, Count number Basie at Newport, Verve Count number Basie/Zoot Sims, Basie and Zoot, Initial Jazz Classics Bix Beiderbecke, THE ENTIRE, Joker (14-LPs) Artwork Blakey, Moanin’, Blue Notice Boswell Sisters, Vol. 1, Collector’s Classics Clifford Dark brown, THE START and the finish, Columbia Dave Brubeck, Jazz Would go to University, Columbia Don Byron, Insect Music, non-esuch Charlie Christian, The Genius from the GUITAR, Columbia Nat Ruler Cole, THE ENTIRE Capitol Recordings from the Nat Ruler Cole Trio, Mosaic (18 CDs) Ornette Coleman, Free of charge Jazz, Atlantic John Coltrane, Live at Birdland, Impulse Eddie Condon, City Hall Concerts. Vols. 1-11, Jazzology Mls Davis, Circular Midnight, Columbia Mls Davis, THE ENTIRE Concert: 1964 (Four & Even more/My Crazy Valentine), Columbia Crazy Bill Davison, Display, Jazzology Roy Eldridge, Montreux 1977, Primary Jazz Classics Duke Ellington, The Blanton-Webster Music group, Bluebird Duke Ellington, Seventieth Birthday Concert, Blue Take note Ella Fitzgerald, Ella in Hollywood, Verve Stan Getz, The Bossa Nova Years, Verve Dizzy Gillespie/Roy Eldridge, Verve Tom Harrell, The Artwork of Tempo, RCA Fletcher Henderson — A REPORT in Annoyance, Columbia (3 CDs) Earl Hines, Spontaneous Explorations, Get in touch with Billie Holiday, THE ENTIRE Decca Recordings (Decca) Freddie Hubbard, Right Lifestyle, CTI Willis Jackson, Club Wars, Muse Adam P. Johnson, Snowy Morning hours Blues, GRP Rahsaan Roland Kirk, Bright Occasions, Rhino Lambert, Hendricks & Ross, THE LATEST New Group in Jazz, Columbia Bobby McFerrin, The Tone of voice, Elektra Musician Jackie McLean, Dynasty, Triloka Charles Mingus, THE FANTASTIC Concert Of, Prestige Mingus Big Music group, Nostalgia in Instances Square, Dreyfus Thelonious Monk, Big Music group and Quartet in Concert, Columbia Jelly Move Morton, His Complete Victor Recordings, Bluebird Body fat Navarro and Tadd Dameron, Blue Notice Buell Neidlinger, Blue Chopsticks, I2B2 Child Ory, Child Ory’s Creole Jazz Music group, Good Period Jazz Charlie Parker, And Celebrities of Contemporary Jazz at Carnegie Hall, Jass Oscar Peterson/Clark Terry, Oscar Peterson Trio AND SOMETHING, Verve Bud Powell, THE ENTIRE Blue Notice and Roost Recordings (4 CDs), Blue Be aware Sonny Rollins, WAY TO AVOID IT West, Primary Jazz Classics Jimmy Smith/Wes Montgomery, The Active Duo, Verve Muggsy Spanier, The Ragtime Music group Periods, Bluebird Sonny Stitt, Endgame Brilliance, 32 Jazz Artwork Tatum, Piano Begins Right here, Columbia/Legacy Sarah Vaughan, Complete: Reside in Japan, Cell Fidelity Extra fat Waller, Extra fat Waller and His Buddies, Bluebird Clarence Williams, 1926-1927, Classics World’s Greatest Jazz Music group, Live at Roosevelt Barbeque grill, Atlantic Lester Teen, THE ENTIRE Aladdin Periods, Blue Note So that as a punch collection: THE ENTIRE Keynote Collection, Polygram, (21 LPs) THE ENTIRE Commodore Jazz Recordings Vols. I-III, Mosaic (67 LPs!)

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