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| 4.426 Ft
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| 1. | I Hear a Rhapsody
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| 2. | Sacre Bléu [Take 1]
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| 3. | Green Dolphin Street
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| 4. | Sacre Bléu [Take 2]
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| 5. | Woody'n You
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| 6. | My Foolish Heart [Rehearsal Tape]
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| 7. | Interview with Bill Evans by George Klabin 1966
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| 8. | Memories for Scotty
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Jazz
Scott LaFaro - Bass
Don Friedman Piano, Performer
George Klabin Executive Producer, Engineer
Giovanni Rodriguez Graphic Design
Marc Courtney Johnson Liner Notes
Pete La Roca Drums, Performer
Pierre Paul Mastering
Ricky Schultz Concept
A treasure trove of insight into this brilliant modern jazz bassist and his creative process, this is essential listening for all musicians and music students.
A portion of the proceeds go to the International Society of Bassists.P "LaFaro's story is compelling not only because of his own prowess as a musician, but also due to the company he kept. How many musicians by their 25th year could say they had played with Benny Goodman, Ornette Coleman, Chet Baker, Stan Kenton, and Bill Evans? Only one. Scott LaFaro."
--- Frank Allyer, Publisher, DownBeat
Considering the legendary bassist Scott LaFaro released no albums as a leader and was known strictly as a sideman, that this recording exists is nothing less than a miracle, and an event in the annals of jazz. It consists of a brief program featuring five selections with the equally brilliant pianist Don Friedman and drummer Pete La Roca, a long rehearsal tape of "My Foolish Heart" with the Bill Evans Trio circa 1966, a 1966 interview about LaFaro with Evans, and a solo piano piece from Friedman done in 1985. So while only half of the disc faithfully features LaFaro's deep and honest bass playing, it is more than worthwhile to finally hear. Of the tracks with Friedman, LaFaro's bass is clearly heard, up in the production mix, and holds its own as a distinctive voice, his solid, resonant quarter notes pounding out these rhythms like few ever have. But it is Friedman, a brilliant jazz musician in his own right, who shines mightily on this date, and in many ways trumps Evans in terms of chops, invention, and bop energy. His fingers are flying on "I Hear a Rhapsody," buoyed by the swing of LaFaro, while conversely able to fluidly flow through non-stressed lines on "Green Dolphin Street," where his extrapolated lines combine innovation with subtlety. There are two takes of the Friedman original "Sacre Bl�u," as the pianist delves deep into pure melody with slightly off-minor shadings and chiming piano chords, followed by classic LaFaro bass solos.
A version of "Woody'n You" is another furiously sped-up bop with nary a dropped note, while La Roca steams ahead, pushes the group, and challenges LaFaro and Friedman like he and few other bop-based drummers can. The solo piano piece "Memories for Scotty" is an elegant elegy or requiem for the longtime deceased bassist in hushed tones, presenting reverent remembrances and the attitude that he is sorely missed. The Bill Evans Trio take of "My Foolish Heart" is included strictly for historical purposes, a curiosity that at almost 23 minutes is tedious, and not well recorded. George Klabin's interview with Evans from 1966 is illuminating, as the pianist talks extensively about meeting LaFaro (and playing "strange" music with Chet Baker), immediately observing he was "overplaying" his instrument, feeling he was a "large" person when physically he was not, and remembering that his talent was bubbling over before he learned the virtue of restraint. Considering this is released some 50 years after LaFaro's death in a car accident at age 25, and that his career lasted a mere seven years, any nitpicking about this issue should be dismissed. It's a rare window into the soul of Scott LaFaro apart from his great sessions with Evans, and a complement to the book written by his sister Helene LaFaro Fernandez, -Jade Visions. ~ Michael G. Nastos, All Music Guide
Scott LaFaro
Active Decades: '50s and '60s
Born: Apr 03, 1936 in Newark, NJ
Died: Jul 06, 1961 in Geneva, NY
Genre: Jazz
Styles: Cool, Post-Bop, Modal Music
During his tragically short life, Scott LaFaro quickly developed into one of the most advanced bassists around, competing with Charlie Haden and Charles Mingus. He emphasized high notes, could play with great speed, and his interplay with Bill Evans in their trio was mutually stimulating and influential. LaFaro originally played clarinet and tenor before settling on bass while in college. He was with Buddy Morrow's band (1955-1956), toured with Chet Baker (1956-1957), and worked during the next few years with Ira Sullivan, Barney Kessel, Cal Tjader, and Benny Goodman, among others. LaFaro joined the Bill Evans Trio in 1959 and, although he would record with Ornette Coleman (including Free Jazz) and gig with Stan Getz, the bassist is best-remembered for his association with Evans, particularly their Village Vanguard recordings of 1961. The 25-year-old Scott LaFaro's death in a car accident shortly after was a major shock to the jazz world.
---Scott Yanow, All Music Guide |
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