In Jeff Campbell’s essay, “Scott LaFaro: The Complete Musician” (an addendum to Jade Visions), he singles out the trio’s performance of “So What,” saying that “LaFaro and Kuhn engage in a brief musical dialogue just prior to the return of the theme…[improvising] melodic ideas that are intertwined in a conversational manner.” Campbell notes that LaFaro’s accompaniment on “What’s New” is “much more active…than the traditional conventions of ballad playing.”, “It is an interesting fact,” Campbell asserts, “That the earliest example of LaFaro’s active, conversational ballad accompaniment was with Steve Kuhn and not Bill Evans.” When I ran this claim by Kuhn, he said, “I don’t agree with that necessarily. Phil has also recorded a solo CD featuring Joe Labarbera and Harold Danko, and co-leads a trio named “Tri-Fi”. He quoted Evans, who said, “I’m hoping the trio will grow in the direction of simultaneous improvisation…If the bass player, for example, hears an idea that he wants to answer, why should he just keep playing a background?”, Scotty, of course, heard and answered plenty of ideas. I’m beginning to think that this bass had a lot to do with it. Scotty sat in. Luckily, Barrie is almost finished making a clone of Scott’s bass for me, which I should have around the end of April. Gloria Gabriel was one of the dancers. Friedman first heard LaFaro with Buddy Morrow, and then they worked together with Chet Baker. Christian said, ‘Scotty’s playing was the bible for bass players…Jimmy Blanton the old testament, Scotty the new’.”, LaFaro spent the evening of July 5 with old friends in Geneva then drove 80 miles west with Frank Ottley to visit another friend in Warsaw who was house-sitting at a place with a good stereo. So they were constantly trying for fresh approaches and fresh improvisations…And Bill told me, I remember it exactly, ‘If I played the same lick on a tune two nights in a row, the next time I playe dit Scott would play it with me in harmony—he would actually harmonize it so that at that point it was time for me to get rid of that lick and move on to something else’.” Is that what LaFaro was trying to bring to Getz’s attention at the Blackhawk? Jade Visions: The Life and Music of Scott LaFaro recounts how three days after his appearance at the Newport Jazz Festival with the Stan Getz Quartet, he’d driven to Geneva, NY to take care of some business related to his mother’s home there. He said, ‘Man, you’ve gotta hear this. Sound is one thing, but I didn’t expect the playability to have that much of an impact on me. In a December 29, 1960 letter addressed to his lover Gloria Gabriel, the dancer to whom he dedicated “Gloria’s Step,” he wrote, “One important thing is that I realize day by day the true artist and musician is becoming more and more meaningless in terms of public comprehension. Upon returning to L.A., LaFaro phoned his friend Herb Geller, who was then playing alto with Benny Goodman in New York. It sounded to me, based on the sound of the bass on the recording, that Scott’s strings were probably set at a medium height. She recalls that Zoot Sims so impressed her brother that he was “impatient for the intermission to end,” and that bassist Leroy Vinnegar “hummed all the while he was playing, a habit Scotty later developed as well.” Helene says he talked about seeing Duke Ellington “for weeks, shaking his head in disbelief of how…they could fool with the melody and make it so much more.” As for religion, she says that whenever she’s asked, “I always answer, ‘We went wherever the music was best.’ That was Dad’s criterion, be it a mass at a Roman Catholic church or Friday evening Shabbat dinner at the cantor’s home.”, Scotty’s first instruments were piano, clarinet, and tenor saxophone. Rocco Scott LaFaro: Born April 3, 1936 Newark, New Jersey, U.S. Died: July 6, 1961 (aged 25) Flint, New York, New York: Genres : Jazz, ... — Charlie Haden, in Ethan Iverson, "Interview with Charlie Haden", Do The Math (Blog) Discography. At that year’s Monterey Jazz Festival, LaFaro performed with both the Coleman Quartet and Gunther Schuller. Low action is a little hard for me to deal with, since it’s harder to get a good pull on the string. He would have played twenty-four hours a day if he could…He was learning a mile a minute.”, Morrow’s outfit had a big hit with “Night Train.” The bandleader told Helene, “We were a band which was dedicated at the time to mainly rhythm and blues. The song is a simple Blues from “This is Pat Moran” (by Pat Moran trio, track B6, 1958 AF), the lines are fluid and […] Ornette’s group with Don Cherry and Ed Blackwell played the Village Gate for three weeks in August and September followed by engagements in Philadelphia and Detroit. Scott was already playing like that with Bill.”, Recorded on November 29, 1960, the four-song session wasn’t officially released until 2005. Both Nat Hentoff and Ralph J. Gleason took note. Like Evans, Kuhn, who’d arrived on the New York scene in 1959 as a 21-year-old Harvard grad, was being managed by Helen Keane. This is the best piano player I’ve ever heard’.” It was Evans’s 1956 debut album, New Jazz Conceptions. It was with him in the car the night he was killed. Scott Lafaro Walking Bass Transcription… Another walking bass transcripton, following Paul Chambers and Jimmy Garrison, this time we look at virtuoso upright bassist Scott Lafaro who has gone far too young. If you’re interested, check out my YouTube channel. The great bassist is best known for his work with the Bill Evans Trio between 1959 and ’61, and for the tragic car accident that claimed his life on July 6, 1961, two weeks after the trio’s legendary performance at the Village Vanguard. The Getz Quartet, with either Henry Grimes or Jimmy Garrison spelling LaFaro (Kuhn can’t recall for certain), was playing that week at Saranac Lake in the Adirondacks. LaFaro continued to divide his time between Getz, Ornette, and Evans in 1961. Speaking with Barrie about the restoration, he said that with the exception of adding new wood to one shoulder of the body, he was able to save all of the restoration work done by his father, though he had to cut a new neck and scroll. In May 1960, the Bill Evans Trio joined in a program at Circle in the Square that was devoted to Gunther Schuller’s jazz compositions. As long as the setup was relatively cool, then I knew that I’d be able sound like I wanted to sound. I feel that he was able to play unlike everyone else at that time in large part due to that bass. I played a bass what was so nice it practically played itself – Scott LaFaro’s 1825 Abraham Prescott bass. We were like brothers.”, Six months before the session with Kuhn, LaFaro recorded with trumpeter Booker Little on April 13 and 15. He was always a good player, but all of a sudden he became a great player. ", Jade Visions credits the demo session that LaFaro made with Steve Kuhn and Pete LaRoca nearly a year later as one where this conversational approach to group dynamics was evident. I was a little freaked out about it when I first joined that band. I’ve tried to document the event on video as much as I could. On my basses, I’ve trained myself to run up the G and D strings most of the time, but on Scott’s bass I could come across the strings like I can on an electric bass. Bassist Marc Johnson, who was with Evans between 1978 and his death in 1980, wrote in the liner notes for Pieces of Jade that the Vanguard performance was “the highest measure of Scott’s musical vision.”  In Jade Visions, he says, “I must have listened to those recordings…thousands of times…To this day, I still don’t see how Scott articulated his ideas with such startling clarity and velocity.”, Johnson also speaks for the continuing hold that the recordings have on listeners touched by their emotional richness. I remained close friends with Scotty in New York, and would go over there to see and admire them, and Scotty and Paul would come over to the Five Spot, too. That huge sound and strength of attack is finger-sprung alone.” Gleason commented, “It is, however, as a vehicle for bassist Scott LaFaro that the LP really impresses.” Later in the year, he toured and recorded with the Cal Tjader-Stan Getz Sextet. Now that I have the finished CD in my hands, I can safely say that I was about 60% correct. ), LaFaro signed on with Stan Kenton for a tour in the spring of 1959. Hinzu kommt eine 22-minütige Aufnahme aus einer ausgedehnten Probesession mit LaFaro und Bill Evans, während sie ihre später entstandene Version von „My Foolish Heart“ vorbereiteten. An interview segment with Evans from 1966 has him reflecting on LaFaro's tremendous contribution to the trio as well as his personality. I can hear the change of strings, and the notes are a little bit more dead sounding. Interview with Bill Evans By George Klabin 1966 Songtext von Scott LaFaro mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com Then there's a 1985 recording by Friedman of an original called "Memories of Scotty." It was punchier, and the upper register sang better. Since then, I’ve felt a lot more relaxed about playing other basses. One day, however, a friend talked me into using it full time. As he put it, being out with a leader who was a junkie put him at risk of being stranded…The tensions ebbed and flowed [that] afternoon, but strangely enough we were accomplishing what we had set out to do…The lesson to be learned here is probably something about the value of professionalism.”, While LaFaro was cautious about touring with Evans and eschewed drug use (Kuhn says he was “healthy as a pig…didn’t smoke, drink, use drugs, but he liked to drive fast”), he was intrigued by Bill’s interest in Zen meditation, which he practiced and discussed with Helene when he stayed with her during a Getz engagement in L.A. Recently, I had an experience that changed the way I think about instruments. 6:23 PREVIEW 8 SONGS, 1 HOUR, 14 MINUTES. LaFaro was honored in 2012 in Geneva, where a street was renamed Scott LaFaro Drive and an annual Scott LaFaro Day was inaugurated. In the latter case, Getz fired LaRoca and hired Roy Haynes, but Kenton wasn't about to be second-guessed. He told Helene that “Scott lived for the bass…He was looking all the time to play. I love your book of LaFaro transcriptions. Okay, maybe that’s not a criteria you should pick a bass by, but when you have to climb two flights of stairs to get on the 1 train, which is elevated at 242nd St. in the Bronx, it is a plus. He had an incredible ear. Bill Evans and Scott LaFaro and Paul Motian were of one voice. With the help of the lower action, he was able to really set his style apart from other bassists of the time. I’m in the position of having nothing you can put your finger on for sale.”, Evans’s drug addiction was also a matter of concern for LaFaro.

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