And a little deeper understanding of who Scott is comes from a live interview George Klabin made with Bill Evans in 1966 from WKCR FM studio where Bill reminisces about his former bassist and colleague. These recollections from Bill are for me the highlight of the record.
And, there is more music. This time we hear Scotty on a recording session, again from 1961 with Don Friedman on piano and Pete LaRoca on drums. These performances have the raw feel of a jam session and you can sense this group hasn’t benefited from a season of playing regularly together, yet. There are inspired moments from each musician and Scott and LaRoca hook up very effectively on Wooody’n You allowing Friedman the rhythmic freedom to execute some burning runs.
Total time: 00:37:06
René Laflamme – Analog Tape to DSD 256 Transfer
For the 2xHD transfer of this recording, the original 1/4", 15 IPS NAB Master Tape was played on a Nagra-T modified tape machine with high-end tube playback electronics, wired with OCC Silver Cable from the playback head direct to a Telefunken EF806 Tube. The Nagra-T has one of the best transports ever made, having four direct drive motors, two pinch rollers and a tape tension head.
We did an Analog Transfer to DSD256 (11.2mHz) using Merging Horus and HAPI A/D converters and a dCS Vivaldi Clock. Each format (DSD 2.8mHz, DSD 5.6 mHz and DSD 11.2 mHz) was created from that transfer.
|Original Recording Format|
New York City, 1962
|Recording Type & Bit Rate||
Analog to DSD256
|Release Date||February 10, 2017|
“In his brief career between 1959 and 1961, Scott LaFaro may have done as much to revolutionize the way the bass is played in jazz as Jimmy Blanton, another gifted and tragic figure, had with Duke Ellington 20 years before him. Like Blanton, LaFaro only took up the bass when he entered college and also died very young: Blanton of tuberculosis at 23 in 1942; LaFaro at 25 in a car accident in 1961.
LaFaro recognized no limitations and played bass with a virtuosity and invention that made him the equal of any musician with whom he ever worked. The fluid melodic counterlines and harmonic invention he brought to Bill Evans revolutionized the piano trio, while the dense, exploratory dialogue he brought to the Ornette Coleman Quartet fueled the progress of another stream of bass playing. Coleman titled a tune “The Artistry of Scott LaFaro,” and LaFaro’s influence is felt in both directions to this day.
This is the first recording released under LaFaro’s name and it provides useful insights into the bassist’s talent through several varied recordings. First up are five tracks by a highly interactive trio with pianist Don Friedman and drummer Pete LaRoca from 1961, almost an LP’s worth of material that includes dynamic versions of standards “I Hear a Rhapsody” and “Green Dolphin Street,” a fiery version of “Woody ‘n’ You” and two takes of Friedman’s medium tempo “Sacre Bleu,” which demonstrate the warm lilt and sudden flaring creativity that LaFaro combined.
It all combines for a fitting tribute to an essential musician, a complement to the masterpieces LaFaro created with Evans on Waltz for Debby (Riverside, 1961) and Sunday at the Village Vanguard (Riverside, 1961), and Coleman on Free Jazz (Atlantic, 1960) and Ornette! (Atlantic, 1961).”
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