#Scott LaFaro

[the-garrincha-universe]

American Bassist Scott LaFaro

#scott lafaro

[elfbarpile]

Jackson Pollock The White Light (1954)

included in the gatefold for the 1961 LP Free Jazz: A Collective Improvisation by The Ornette Coleman Double Quartet

#jackson pollock #abstract expressionism #free jazz #ornette coleman #don cherry #scott lafaro #billy higgins #eric dolphy #freddie hubbard #charlie haden #ed blackwell #abstract art

[pazzesco]

Minority

Night and Day

Autumn Leaves

Peri’s Scope

Peace Piece

Milestones

Tenderly

Blue in Green (Take 1)

Suicide Is Painless (Theme From M*A*S*H)

When I Fall In Love

Someday My Prince Will Come

Psychoactivelectricity’s Jukebox Guide

The Mini Jukebox Page

Click -> HERE <- for an updated Mini Juke Guide

#mini jukebox #bill evans #jazz #music #philly joe jones #sam jones #Scott LaFaro #paul motian

[jazzdailyblog]

Scott LaFaro: Revolutionizing the Role of the Bass in Jazz

Introduction: Scott LaFaro was a jazz bassist whose brief yet impactful career revolutionized the role of the bass in jazz. Best known for his groundbreaking work with the Bill Evans Trio, LaFaro’s innovative approach to bass playing helped to redefine the possibilities of the instrument, inspiring generations of bassists to come. In this blog post, we will explore the life, music, and legacy of…

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#Bill Evans #Bill Evans Trio #Jazz Bassists #Jazz History #Paul Motian #Scott LaFaro #Sunday at the Village Vanguard

[musicollage]

Bill Evans – Waltz For Debby. 1962 : Riverside.

#jazz #post bop #modal jazz #bill evans #1962 #riverside #scott lafaro #paul motian #piano trio #live recording #jazz live #the village vanguard #1960s #1960s jazz

[urmuz]

#my playlist #jazz #bill evans #scott lafaro #paul motian #portrait in jazz #autum leaves #Spotify

[takmiblog]

Portrait In Jazz

Bill Evans Trio

December 28, 1959

#vinyl #bill evans #scott lafaro #paul motian

[joshhaden]

#charlie haden #jazz #jazz music #free jazz #ornettte coleman #freddie hubbard #eric dolphy #scott lafaro #billy higgins #ed blackwell #grammy awards #jazziz magazine #bass player magazine #liberation music orchestra

[sgurumiyaji]

本日のおはジャズは「Kamuca・Feldman・Tjader - feat. Scott LaFaro」'57〜'58。

A面はカミューカのバンドがフィーチャリングされてますが、最初の3曲を除き、全てラファロがベースを弾いてるという、ラファロを聞く為のアルバム。基本的に、他に上げた写真の3枚のアルバムのライブ盤と思って頂いて結構かと。(ゲッツは参加してません)

ボブ・アンドリュースという、西海岸のジャズ・オタがあちこちのライブハウスにテープレコーダーを持ち込んで録音したものがレコードになってるらしく、これもその一枚。ただ、お客さんの拍手の感じから、明らかにテレビ番組の音源だと思われます。バランスは悪くないのですが、音質が良いとは言い切れない、まぁ、コレクターズ・アイテムですね。盤質など状態が良かったので、ちょい高だったのが逆に悔やまれます。

テレビ番組であろうが故に、演奏も非常にコンパクトです。悪くはないのですが、ビルドアップして盛り上がるって事は無いです。ただ、完成度の高いスタジオ録音がライブでも再現されてるってとこに価値は有ると思います。特にフェルドマンの「Be Bop」はテンポ♩=400の超高速で演ってます。流石にテーマのタイムはフェルドマンが適当になってますが（笑）

あと、ジェイダーの「Tumbao」という曲では、ラファロのラテン・グルーヴが聴けます。これは超貴重かと。そして、アフロキューバンの１個抜きのパターンとかめちゃくちゃ気持ち良いのです。これがあのエバンスのとこで自由に弾いてた人なの？ってくらい、ビシッとハマっててグルーヴィ。天才はやっぱ何やっても凄い。流石、ジャコ以前のベースの革命児。この人もオールラウンダーだったのですね。

#jazz #saxplayer #richie kamuca #vibraphone #victor feldman #cal tjader #bass #scott lafaro #レコード好き #vynil

[altava]

*practices bass so much my hands explode*

#i need to play like scott lafaro Right Now #chatter

[lovelyangryheart]

Scott LaFaro (American 1936-1961)

#vintage men

[ourshadowstallerthanoursoul]

Ask-in with a LZ a week - interview to JPJ

(by Ritchie Yorke, NME - April 4, 1970)

What were you doing before Led Zeppelin formed?

Vegetating in studios in London mainly. Jimmy’s also done his share of that. But he got out and went into the Yardbirds. Just before joining the band, I had gotten into arranging and general studio directing, which was better than just sitting and being told what to do. I did a lot of Donovan's stuff. The first thing I did for him was 'Sunshine Superman'. I happened to be on the session and I ended up arranging it. The arranger who was there really didn’t know about anything. I sort of got the rhythm section together and we went from there. 'Mellow Yellow' I did entirely on my own. I was pleased with it; It was different to what was happening in the general session scene.

Were you surprised at the success of LZ?

Yes, I was surprised as to the extent of our success. You see, we’d been doing all this for a long time and, after a while, you can see how a group breaks up and what causes all the ups and downs. You reckon that if you should consciously put together a group that won’t have a lot of stupid troubles; and the basic thing of what people want to listen to; good musicianship; and a certain amount of professionalism; the right promotion — with those things you figure you must stand a good chance. But to what extent, nobody knows. To this extent, its unbelievable!

Do you think your success came because there was a gap in the rock scene after Cream and a perennial need for a hard-hard rock band?

If you think from a pure popologist’s point of view, you could say it was foreseen, inevitable, predictable. There was a gap there and we filled the gap. But there’s a lot of other things which may do it. I think the business did need something different because Cream was going around in circles. They never talked to one another, it seemed. The groups that did have a good sound were successful but they always seemed to have internal troubles; while the groups that did get on never got heard, and somehow you had to get the two together. An amicable group, a good sound and exposure.

LZ seems to be a group which gets on well.

Yeah, especially as we’re all different people. Robert and John have got the Birmingham band thing in common. Nobody had actually worked together before LZ though. We just got together in a 6ft. x 6ft. room and started playing and looked at everybody else and realize what was going to happen.

Who influenced your bass playing?

Not a lot of people because it was only recently that you could even hear the bass on records. So apart from obvious jazz influences — like every good jazz bass player in history; Mingus, Ray Brown, Scott LaFaro… I was into jazz organ for quite a while until I couldn’t stand the musicians any longer and I had to get back to rock'n'roll. I listened to a lot of jazz bass players and that influenced my session playing, and then I cannot tell a lie, the Motown bass players! You just can’t get away from it. Every bass players in every rock group is still doing Motown phrases, whether he wants to admit it or not.

It's a shame that so few artists have credited the Motown bass influence.

Right. Yet it’s been one of the Motown sound’s biggest selling points. I used to know a few names of Motown bass players, but I can’t remember them. Motown was a bass player’s paradise, because they’d actually found a way to record it so that you could hear every note. Their bass players were just unbelievable; some of the Motown records used to end up as sort of concertos for bass guitar.

What do you think of Jack Bruce's playing?

Jack is very good. I’m not too keen on the sound he has, but that’s personal taste. Being a bass player, I obviously have more idea of the sound I like than someone who just listens to records. I like his LP 'Songs For A Tailor' though.

What about Paul McCartney?

Well, I think he’s perfect. He’s always been good. Everything he’s done has always been right, even if he didn’t do too much, it was still just right. He’s improved so much since early Beatles days, and everything is still right. They’re really beautiful, the things he plays.

How about Rick Grech?

I don’t know anything about him.

Bass has really become important in the past two years.

Bass players have really got annoyed and said to engineers “You’ve got to get it through.” Then they went to the people who cut the record, because you can get it on tape and then lose it on record. The cutters start screaming that it won’t play with too much bass and people’s expensive magnetic cartridges will jump up into the air every time you hit a bottom string. I think Cassidy did an awful lot, and he’s still doing so. He designs bass guitars which are utterly unbelievable.

Did you hear Moms Marbley's record of 'Abraham, Martin and John'? It had fantastic bass reproduction.

No, I didn’t hear that. The Motown record that really impressed me was 'I Was Made To Love Her' by Stevie Wonder. When it came out, I just couldn’t believe it.

You must be one of the few people who actually sits down just to hear a bass pattern on a new record.

Bass players are always like that. The first record that really turned me on to bass guitar was 'You Can’t Sit Down' by Phil Upchurch, which had an incredible bass solo and was a good record as well. Very simple musically, but it had an incredible amount in it.

After years of session work, how does it feel to be in a group?

It’s a strain, but it’s a different kind of strain. I much prefer it. In sessions you just vegetate and you reach a certain period where you’re working a helluva lot and that’s it. You can’t do anything musically and it’s horrible. You became a well-used session musician with no imagination. I used to be the only bass player in England that knew anything about the Motown stuff so I used to do all the cover versions. I often used to almost be in tears at the sound they’d get and the way they used to mess up the songs.

The English session scene is rather unique in that. They really only have one man for each instrument, and if you're the man, you get to do every session going.

Right. But it’s not specialised, which is the strangest thing. You can do anything. Every record that’s been made in England you could have been on, if they used your particular instrument — from Petula Clark to visiting Americans. I remember one day — firstly at Decca Studios with the Bachelors; then Little Richard, who’d come over to do a couple of English sessions — and it was bloody awful.

It must have been rough at first, though with people only thinking of LZ as Jimmy Page's band?

Well if Jimmy had been incredibly insecure and really wanted to be a star, he would have picked lesser musicians and gone on the road and done the whole star trip. Everybody in the band recognised that at first having Jimmy’s name was a great help. In fact, it opened a lot of doors, and once you realised that, and because aware that you had a job to do, it worked out all right. I’ve been playing bass for ten years now. I’ve been on the road since I was two years old — my parents were in the business, too… in variety. They had a double act, musical comedy thing. I was in a professional band with Jet Harris and Tony Meehan. That was when I was 17.

What do you think of Robert Plant?

Robert is unique. We’re all unique really, but Robert is really something. I couldn’t imagine any other singer with us. I just couldn’t. Robert is Robert and there’s nothing else to say.

How about John Bonham?

John is the find of the year as far as British drummers are concerned. I can’t remember anyone like him either. It’s obvious why these people have ended up in the same group. We’ve all the right people. If anybody had to leave, the group would have to split up because it wouldn't be LZ anymore. Each of us is irreplaceable in this band.

How about Jimmy?

For years and years, I’ve rated Jimmy. We both come from South London and even then I can remember people saying: “You’ve got to go and listen to Neil Christian and the Crusaders, they’ve got this unbelievable guitarist.” I’d heard of him before I heard of Clapton and Beck. I probably listen to more of Clapton through Jimmy telling me to than any other reason. I’ve always thought Jimmy to be far superior to all of them. It sounds like a mutual admiration society; people don’t believe me when I say this. but I mean it.

Why do you think English bands are beginning to be stronger chartwise, than American bands again?

The Americans have got lazy. They’ve had it their way for so long. As soon as some competition comes along and does well, the not-so-good bands get uptight because they think they’re missing out on all the work. The better bands pull their fingers out and really come up with something great, and they do as well as the best English bands.

Do you think we're in the middle of a second English invasion of the US charts?

I think it can be taken as a criticism of American bands that so many English groups are getting into the US charts. American groups should look at themselves and their music if this is the case, and ask themselves why all these foreigners are going so well when they’re not. And I’m sure if they looked hard enough they’d come up with one reason or another, and they’d be able to get it back together and make it again.

#john paul jones #jonesy #led zeppelin #robert plant #planty #jimmy page #pagey #john bonham #bonzo #60s #70s #70s rock #70s music #rock music #ourshadowstallerthanoursoul

[projazznet]

Bill Evans – The Complete Village Vanguard Recordings, 1961

The Complete Village Vanguard Recordings, 1961, a three-CD box set released in 2005, marks the first time the entire Bill Evans Trio’s complete sets at the Village Vanguard on June 25, 1961 have been released in their entirety (outside of the twelve-disc set containing Evans’ complete Riverside recordings).

Personnel: Bill Evans – piano Scott LaFaro – bass Paul Motian – drums

#billevans #scottlafaro #paulmotian #jazzpianist #pianojazz #projazz #projazznet

[jazzdailyblog]

"Beauty Is a Rare Thing": Ornette Coleman's Sonic Odyssey Through Avant-Garde Jazz

Introduction: On November 16, 1993, Rhino Records unveiled a musical treasure trove that transcended the boundaries of jazz. “Beauty Is a Rare Thing: The Complete Atlantic Recordings” by Ornette Coleman, a pioneering saxophonist and composer, stands as a testament to the avant-garde movement that swept through the jazz landscape in the late 1950s and early 1960s. This box set, meticulously…

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#Beauty Is a Rare Thing #Billy Higgins #Charlie Haden #Classic Albums #Don Cherry #Ed Blackwell #Eric Dolphy #Freddie Hubbard #Free Jazz #Jazz History #John Lewis #Modern Jazz Quartet #Nesuhi Ertegun #Ornette Coleman #Ornette on Tenor #Scott LaFaro #The Art of the Improvisers #The Shape of Jazz to Come #To Whom Who Keeps A Record #Twins #Yves Beauvais

[polyrhythmicbw]

Scott LaFaro Live Performance Video 1958 - 2 Songs, Best Quality Sound

スコット・ラファロのおそらく現存唯一の映像。西海岸で活動していた頃かな。

#jazz #bass #ベースの日

[takmiblog]

George Clabin interviews Bill Evans about Scott LaFaro in 1966

#bill evans #george clabin #scott lafaro