Member since 2013.
Home: Kalamazoo, MI
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A lover of music finds the words to express it. Once in a while.
Having grown up in a family that loved music--just outside of Chicago, my dad an amateur
piano player when he wasn't straightening teeth--my parents made sure I got drum
lessons, got me to the local music store to be among all those shiny and amazing
instruments, and took me to all manner of concert and club dates, leaving my siblings with
the baby sitter.
And this before I was even out of grade school.
In addition, there was the expanded record collection my dad had, those records (mostly jazz, big band, some classical, a dash or two of folk and ethnic) were regularly played on what seemed like a recurring theme of always replacing the stereos (once it became stereo). My dad's interest in equipment, incidentally, later surfaced in my own interest in components, components I would later end up selling as part of a unique hybrid music store I co-owned during the mid-to-late 1970s in Eugene, Oregon. That arsenal also included musical instruments and recorded music (not to mention certain under-the- glass-counter paraphernalia), no doubt a reincarnation of that first music store I loved so much back in the day.
Little did I realize that my love of music and love of writing would one day collide years later as I entered the world of music publishing, at DownBeat Magazine in 1987. A few published pieces here and there combined with my awareness of the Chicago-based magazine (it was my first subscription as a young lad) and my experiences as a music retailer, I later realized, were my calling cards.
From there, it was diving into other people's writing as I got familiar with the way magazine publishing worked and what the music industry looked like from yet another inside position. In time I would begin writing in earnest and go after musicians I cherry-picked (I was the editor, after all) to interview that I had usually enjoyed from a distance before. Now, I was sitting across from Miles Davis, Tony Williams, Joni Mitchell, Dr. John, Woody Allen, even.
After roughly 11 years at the magazine and witnessing (and participating in) the massive changes that were sweeping across the industry, from tape and vinyl to CDs, DVDs, bean- counting, downsizing, digitizing, mesmerizing is about the only word that can sum up the net affect of all that change. Along the way, and certainly after leaving the magazine, I learned more of what so many of my colleagues had been doing for years: I joined the ranks of the freelance writer, first for DownBeat, but then for a string of other, sometimes shooting-star publications, both print and online. TimeOut Chicago, Schwann Inside, Relix and first Traps and then Drum! magazines, to name a few.
And now, having logged millions of words here and there and not a few miles in different parts of the world, I come to All About Jazz.
The rest is history, and what is now remains to be seen. I am honored and look forward to being a contributor along with all the other great writers who add so much to this world- class enterprise. AAJ is clearly a major web and virtual presence that makes its mark every day in the real world of music, music lovers and musicians, emphasizing and celebrating (when we aren't wondering or scratching our heads) this wonderful, miraculous music we all continue to love. We call it jazz.
Off to the races.