Download Saori Yano Answer Rar Free
Download Saori Yano Answer Rare
Download Saori Yano Answer Rar File
Download Saori Yano Answer Rar Download

Home Download Saori Yano Answer Rar. Download Saori Yano Answer Rar. Here you can download akiko yano gohan shared files: Akiko Yano.rar mediafire.com akiko yano gohan ga dekitayo DivShare free from TraDownload. Saori Yano (矢野沙織) - Answer., Saori Yano. 矢野沙織专辑《矢野沙織best 〜ジャズ回帰〜》，更多矢野沙織相关专辑下载、在线试听，尽在网易云音乐. Download Saori Yano Answer Rar Extractor. So, in order to support the creators and help them make improvements to the software, we should all repay their hard work. In this particular case we were unable to help you find a free download. GigaStudio is not distributed for free and is only available on commercial basis.

JAZU: Jazz from Japan. Interview. Saori Yano

Scritto da Nico Conversano

Giovedì 09 Ottobre 2014 00:00

Foto: ---

Interview to Saori Yano
Translation from Japanese by Nico Conversano
Review to Answer
Since her early debut as enfant prodige of Japanese jazz scene, alto saxophonist Saori Yano has always been paying great attention to the purest tradition of jazz and the legacy of its legendary masters. Ten years of high-swinging performances, brilliant technical skill and distinguished style merges now into Answer, Yano's tenth release that exalts her many musical features and influences.
Jazz Convention: According to your profile, your artistic course seems to be have been started in a particular way. Indeed, when you joined your school brass band, at the age of 9, it seems you were more interested in playing flute but eventually you chose alto sax by chance. Can you tell us about this curious beginning?
Saori Yano: Indeed, behind the choice of my instrument there's a particular story. In my family there were no other musicians. It wasn't exactly what you would call a 'music family'. When I attended the elementary school, like all the children of my age, I joined the school brass band. For some particular reason, in Japan a lot of girls join school brass bands. Me, like most of the girls, wanted to play a little, pretty instrument like flute or clarinet. Because of this, it was decided that the choice of instruments would have been decided by playing at 'Rock-Paper-Scissors'. Eventually, the game ended up with me losing and choosing the alto sax.
JC: You discovered Charlie Parker through listening to bass player Jaco Pastorius' rendition of Donna Lee. What did you feel and think when you first listened to his recordings? What fascinated you the most about this icon of jazz?
SY: The first time I listened to his music, I thought it was something unique and revolutionary. It was a radical, high quality music, something I've never heard before, able to express all the inner feelings of those playing it. Inside of it there were rules and transgression, energy and rage. At that time I was interested in music genres as hard core and hip hop, usually provided with a big amount of energy. Bebop, instead, is fundamentally an instrumental music, whose name doesn't make you think about something special or revolutionary. Yet, the music of Charlie Parker could reach incredible speed and, despite it was wordless, hit me like a bullet.
JC: After that, your interest for Bird and jazz grown bigger and bigger. At such a young age, how hard was practicing on alto saxophone and playing bebop aiming to Charlie Parker as your reference point?
SY: I worked especially on Charlie Parker's intonation. Usually I don't think about how things can be hard.
JC: At the age of 14, inspired by Billie Holiday's autobiography, you started self-promoting yourself trying to find gigs in the jazz clubs. How hard was to convince club owners that also a young girl like you could be a good bebop player? Until today, how things are changed compared to that time for women who plays jazz in Japan?
SY: At that age, soon after starting the middle school, I got into a troubled and rebellious period of my life. I didn't want to go to school anymore and spent all my time in Shibuya (a famous Tokyo's commercial area) without coming back home. Of course, my parents couldn't stand my behavior for a long time so one day they told me: «If you don't want to go to school anymore, go finding you a job!». That's when I thought: «If that's so, why not turning my love for jazz into my job?». That was the beginning of a long period of hard times and mistakes for me. I wandered in Tokyo, looking for gigs in the clubs, always taking with me a copy of Billie Holiday's autobiography. At that time I wasn't so confident in myself, but eventually I came up with the idea that potentially everything can be achieved. In every jazz club that I came trough, except those I contacted by phone, the door was slammed into my face. I think it was an understandable attitude towards a girl that nobody knew. I felt shattered. Reality wasn't exactly what I expected. Then, after more than one hundred attempts, the owner of a jazz café called Cafe Clair finally told me: «Come on, show what you're able to do!» In Japan today there are a lot of wonderful female musicians and other continue to make their debut. I'm really happy about this!
JC: Thanks to your excellent first live performances a fast word of mouth soon led you to your homonym first recording in 2003 for renowned Savoy, becoming the second Japanese artist recording for this label. At that time, what did this record represent for you?
SY: After all these years from my debut album, many stupid things come in my mind about it: «I should have done it better..» or «Listening to it again is embarrassing for me..» But, thinking about it now, it was a precious recording because it allowed me to get rid of that part of me, at that time I was only sixteen, that used to associate with people older than me acting like them, pretending not to be under pressure.
JC: With 02 (2004), your 2nd album, you started a long series of American recordings which allowed you to join and perform with some of the great American jazz legends. When you first traveled to the land of jazz, how was your impression of American musicians and American audience compared to Japanese jazz scene?
SY: The first time I visited America was at the age of 15. When I recorded my second album it was the second time for me to be there. During my first trip to New York, I went alone to Harlem to play in a session with other musicians. The audience, though surprised by my presence, appreciated my performance, but the musicians weren't that gentle with me. Probably the poor technical skills I was provided at that time were to be blamed, but my wish to play with such talented musicians, even if unfriendly to me, was what pushed me to be there.
JC: You had the opportunity to perform with the legendary Miles Davis's in a Silent way's drummer Jimmy Cobb. Mr.Cobb accompanied you on your 3rd album Sakura Stamp's tour and in 2005 you also recorded your 1st live album with him at Smoke, a famous jazz club in New York. How was your experience with this master of jazz, who renamed you 'The Japanese Cannon Adderley'?
SY: Jimmy was a really humble and little shy person. It was a very nice person with me.
JC: Let's talk about your latest release called Answer. How come you chose this title for this album?
SY: This recording is my answer to some tunes requested by my fans, and selected from my discography, which I collected trough a poll and rearranged for this album.
JC: How is your relation with your fans on and out of the stage?
SY: Basically, I think that my music is something that once come out of my instrument no longer belongs to me, but it belongs to the people that came to listen to me. I always think about it: when I'm having a drink, before going to bed, while eating, while I whisper or when I relax with my arms folded. It's something difficult to explain with words..
JC: Answer also celebrates your ten years of career as a recording artist. The presence of trumpet master Terumasa Hino, featured as a special guest in a couple of tunes, is like ice on your birthday's cake. How was the experience of recording with this legend of Japanese jazz?
SY: I think that Terumasa Hino is prov