Scott Yanow's "Bebop" book

[slide_advantage_redoux]

I picked up a copy of Scott Yanow's book "Bebop". Overall, I would say it is a worthy addition to a jazz library, but I have a problem with it. That being the fact that bop trombonist Frank Rosolino is nowhere to be found in the book; not even as a footnote.

Feel about him as you will, but Rosolino was one of the most original soloists in jazz, and most definitely a bebopper.

I don't get it. Of course he was a troubled man, and he went out in a horrible way (everyone knows the details, so I won't go on), but that should not mean he is a forgotten man. Maybe I am wrong, but I have seen this in some other books on jazz as well. Is his personal history a mitigating reason for his exclusion?

Input?

[Nate Dorward]

I'm sure the exclusion has nothing to do with his personal history, just Scott's different way of divvying up stylistic/period divisions.

[slide_advantage_redoux]

Despite my bias as to how important a figure Rosolino was in bebop trombone, I cannot fathom how he isn't at least mentioned.

In reflection, I do agree that his personal life probably wasn't a factor. I would love to get Mr. Yanow's 2 cents on this though.

[Jim R]

I haven't seen the book, but this topic has gotten me kind of curious. Labeling of musicians is obviously sticky business, but I wouldn't have thought of Rosolino as a "bebopper" in the sense of being among the pioneers/active participants in that movement. I am a big Rosolino fan (really), but I've never closely looked at his early history. I know he was with a few bands before joining Kenton in '52, but I didn't think they were necessarily "bebop" bands. Obviously, Rosolino eventually showed himself to be one of the most technically gifted trombonists in jazz (playing bop and everything else at a level that drew the highest praise from all his peers, including J.J.), but maybe (as Nate suggests) this has more to do with Yanow's specific criteria for drawing lines between earlier bebop artists and later ones...?

[John Tapscott]

Leaving Frank Rosolino off any list of bop trombonists is a major omission. He was active in the late '40's, which was about as close to the bop pioneers as you could get. Not that he was a bop innovator, but if you limit your list to only the innovators you'll have a very short list. I wonder if Carl Fontana is on Yanow's list?

[slide_advantage_redoux]

I agree with you, John. He was certainly one of the most individual stylists of the genre. Coming up in the Detroit scene, he actually got to play with Charlie Parker (on one occasion at least). That may not qualify him as a "bop" player, but it sure seems to get him in the right direction!

By the way, Carl Fontana - who as many know co-led a successful 2 bone unit with Frank briefly before Rosolino's suicide - is featured in the book. (deservedly so)

Carl and Frank were planning on releasing an LP of their collaboration. I have many bootleg recordings of them in club and concert settings. They were the alpha and omega of jazz trombone (IMHO). Their styles complimented each other perfectly; Carl being the linear, logical and smooth player and Frank the angular, explosive and unpredictable one. To hear them in person (which I was fortunate to do, some 6 weeks before Frank offed himself) was an experience I will never forget. They pushed each other to greater levels.

Sorry to get somewhat off-topic.

In looking through Yanow's book further, I notice that besides Rosolino, Frank Rehak and Jimmy Knepper are two other major bop trombonist also excluded/omitted.

Of course, JJ is there, as well as Bennie Green, Kai Winding, Jimmy Cleveland, Eddie Bert, Bill Harris, et al. Go figure.

I do like Yanow's books, so please don't think I am against his work per se.

Edited January 24, 2005 by slide_advantage_redoux