There were 5 albums found for this artist, now showing 1 through 5.
With a title and front cover like this, one would expect 1968's Music for Yoga Meditation and Other Joys to [more]
After stints at Juilliard and in the Army during the '40s, clarinetist Tony Scott rose to prominence in the '50s as a [more]
Tony Scott's 1967 self-titled album for Verve is a good example of what makes him such an interesting but frustrating artist. After [more]
This artist appears on 74 albums, now showing 1 through 10.
The Complete Irving Berlin Songbooks combines the three individual discs in the Irving Berlin Songbook series -- [more]
Most of Sarah Vaughan's Columbia recordings were on the commercial side, but not the memorable selections on this wonderful [more]
Taken from a couple of sessions taped during 1955-1956, Lady Sings the Blues, Vol. 4 finds [more]
With cooperation from the Verve and Columbia Legacy catalogs, the Ken Burns Jazz series on CD individually spotlights the musical [more]
Combining two string albums by Ben Webster and one from Ellington sideman Harry Carney, the two-disc Music With [more]
Zoot Sims and Al Cohn made many records together in small-group settings, but this isn't one of their [more]
Issued in time for Valentine's Day 2005, Ben Webster for Lovers collects 11 of the tenor giant's best ballads from his Verve [more]
Regrettably, the clarinet isn't nearly as prominent in jazz as it once was. Some excellent [more]
Since leaving New York in 1959, Tony Scott (a top bebop-oriented clarinetist) has been an eager world traveler who enjoys exploring the folk music of other countries. Unfortunately, his post-1959 recordings have been few, far between, difficult-to-locate, and sometimes erratic, but Scott was an unheralded pioneer in both world music and new age.
Tony Scott attended Juilliard during 1940-1942, played at Minton's Playhouse, and then after three years in the military he became one of the few clarinetists to play bop. His cool tone (heard at its best on a 1950 Sarah Vaughan session that also includes Miles Davis) stood out from the more hard-driving playing of Buddy DeFranco. Scott worked with a wide variety of major players (including Ben Webster, Trummy Young, Earl Bostic, Charlie Ventura, Claude Thornhill, Buddy Rich, and Billie Holiday), led his own record dates (among his sidemen were Dizzy Gillespie and a young Bill Evans) which ranged from bop and cool to free improvisations (all are currently difficult to locate), and ranked with DeFranco at the top of his field.
Unfortunately the clarinet was not exactly a popular instrument in the 1950s (as opposed to during the swing era) and Tony Scott remained an obscure name outside of jazz circles. In 1959, he gave up on the U.S. and began extensive tours of the Far East. He played Eastern classical music, recorded meditation music for Verve, and, other than some brief visits to the U.S, has lived in Italy since the 1970s where he has sometimes experimented with electronics. ~ Scott Yanow, All Music Guide