Beverly Kelly, Dolores Hawkins - Beverly Kelly Sings, Dolores

Styles: Vocal
Year: 1956
File: MP3@320K/s
Time: 74:49
Size: 174,0 MB
Art: Front

(2:46)  1. Lover Come Back to Me
(2:58)  2. The Man I Love
(3:56)  3. You Don’t Know What Love Is
(2:12)  4. I Wish I Knew
(3:22)  5. I Get a Kick out of You
(4:27)  6. I’m Glad There Is You
(3:18)  7. Sometimes I’m Happy
(2:47)  8. This Love of Mine
(3:33)  9. But Not for Me
(4:52) 10. Embraceable You
(2:30) 11. You and the Night and the Music
(3:52) 12. Spring Is Here
(2:15) 13. I’ve Got My Eyes on You
(2:37) 14. Lover Man (Oh, Where Can You Be?)
(2:54) 15. Dream of You
(3:14) 16. I’m in the mood for Love
(2:16) 17. You’d Be so Nice to Come Home To
(2:19) 18. No Love, No Nothin’
(2:17) 19. Baby Won’t You Please Come Home
(3:36) 20. The Man I Love
(2:27) 21. Just Squeeze Me (But Don’t tease Me)
(2:48) 22. Good Lovin’
(3:41) 23. I Must Have That Man!
(3:41) 24. Goodnight My Love

Beverly Kelly Sings
The solid musicianship of Beverly Kelly results in excellent diction and unusual accuracy of pitch and rhythm. You will notice from the very first note her truly fine vocal quality and complete ease in any register. She’s backed splendidly by the swinging Pat Moran Trio, which introduced the youthful spirit and unlimited talent of bassist Scott LaFaro, in an exuberant mood.

Dolores
Miss Hawkins sings with a great deal of enthusiasm. On ballads, rhythm numbers or novelties, she invariably creates contact with her audience and mesmerizes them. She unleashes a finely spun vocal line that, along with her vibrant voice, leaves no area unexplored in these moody evocations of love. And along the way, Hank Jones’ quartet feeds Dolores with a warm, tasty and balanced base, sparked on some tracks by a trumpet and saxophone solos. https://www.freshsoundrecords.com/beverly-kelly-dolores-hawkins-albums/46593-beverly-kelly-sings-dolores-2-lp-on-1-cd.html

Personnel: Beverly Kelly, Dolores Hawkins (vcl), Ruby Braff (tp), Pat Moran, Hank jones (p), Barry Galbraith (g), Scott LaFaro, Milt Hinton (b), Johnny Whited, Osie johnson (d)

Beverly Kelly Sings / Dolores

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Bill Evans Trio - Portrait In Jazz

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 42:22
Size: 99,8 MB
Art: Front

(3:23)  1. Come Rain Or Shine
(6:01)  2. Autumn Leaves
(4:35)  3. Witchcraft
(5:00)  4. When I Fall In Love
(3:16)  5. Peri's Scope
(4:36)  6. What Is This Thing Called Love?
(5:07)  7. Spring Is Here
(4:56)  8. Some Day My Prince Will Come
(5:23)  9. Blue In Green

The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of "Autumn Leaves." Other than introducing Evans' "Peri's Scope," the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as "Come Rain or Come Shine," "When I Fall in Love," and "Someday My Prince Will Come" (which preceded Miles Davis' famous recording by a couple years) are full of subtle and surprising creativity. A gem. ~ Scott Yanow https://www.allmusic.com/album/portrait-in-jazz-mw0000187984

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

Portrait In Jazz

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Buddy De Franco - Generalissimo/Live Date !

Styles: Clarinet Jazz
Year: 1958
File: MP3@320K/s
Time: 75:22
Size: 173,8 MB
Art: Front

( 5:45)  1. Sunday
( 9:21)  2. Between the Devil & the Deep Blue Sea
( 4:57)  3. Tea for Two
( 4:30)  4. Blue Lou
( 9:04)  5. Funky's Uncle
(11:24)  6. Ballad Medley - 'Round Midnght
( 4:06)  7. Oh, Lady Be Good !
( 6:11)  8. Satin Doll
( 3:05)  9. My Funny Valentine
( 4:49) 10. Blues for Space Travellers
( 5:27) 11. Crazy Rhythm
( 6:37) 12. Ballad Medley - I'm Glad there is You

In 2007, the Lone Hill Jazz label reissued two Verve albums by clarinetist Buddy DeFranco: Generalissimo and Live Date!, which despite the title was a studio recording. In a producer's note, Morton James verbally winces at the pun on the name of the notoriously genocidal Spanish dictator Generalissimo Francisco Franco, and speculates that this grossly insensitive gimmick, thought up by some clueless A&R director or advertising agent, might actually have delayed the album's appearance on CD until 2007. Boniface Ferdinand Leonardo de Franco was born in Camden, NJ, in 1923. The son of a piano tuner, he excelled on several instruments before settling into his role as one of the premier clarinetists in early modern jazz. Recorded on Wednesday, April 2, 1958, Generalissimo turns out to be a solid little blowing session involving trumpeter Harry "Sweets" Edison and Milwaukee-born tenor saxophonist Bob Hardaway, with an awesome rhythm section in Jimmy Rowles, Curtis Counce, Barney Kessel, and Alvin Stoller. On Friday, April 4, 1958, DeFranco brought Kessel and Hardaway back to the studio, this time with drummer Stan Levey, bassist Scott LaFaro, pianist/accordionist Pete Jolly, vibraphonist Victor Feldman, and multi-instrumentalist Herbie Mann, who played flute, tenor sax, and (on "These Foolish Things") bass clarinet. This double reissue is composed mainly of jazz standards with a couple of originals and two sumptuous ballad medleys. Unfortunately, the combined running time for both albums exceeded the 80-minute mark by about 120 seconds. For this reason, "Tin Reed Blues" from the Live Date! album was omitted, but may be enjoyed on the equally excellent double CD I Hear Benny Goodman and Artie Shaw [Lone Hill Jazz 10281]. ~ arwulf arwulf https://www.allmusic.com/album/generalissmo-live-date%21-mw0001907306

Personnel:  Buddy DeFranco (cl), Harry Edison (tp), Bob Hardaway (ts), Herbie Mann (fl), Jimmy Rowles, Pete Jolly (p), Victor Feldman (vib), Barney Kessel (g), Curtis Counce, Scott LaFaro (b), Alvin Stoller, Stan Levey (d)    

Generalissimo/Live Date !

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Stan Getz, Cal Tjader Sextet - Stan Getz With Cal Tjader Sextet

Bitrate: MP3@320K/s
Time: 42:30
Size: 97.3 MB
Styles: Saxophone jazz, Vibraphone jazz
Year: 1958/2011
Art: Front

[10:58] 1. Ginza Samba
[ 3:57] 2. I've Grown Accustomed To Her Face
[ 5:42] 3. For All We Know
[ 8:18] 4. Crow's Nest
[ 3:46] 5. Liz-Anne
[ 4:32] 6. Big Bear
[ 5:15] 7. My Buddy

Stan Getz: tenor saxophone; Cal Tjader: vibraphone; Vince Guaraldi: piano; Eddie Duran: guitar; Scott LaFaro: bass; Billy Higgins: drums.

The presence of Latin and Afro-Cuban enthusiast, vibraphonist Cal Tjader, has created a widespread misconception that Sextet was the album which sparked tenor saxophonist Stan Getz's fascination with Brazilian music and, ultimately, bossa nova. The notion has, over the years, been reinforced by the inclusion of pianist Vince Guaraldi's "Ginza Samba," whose theme statements were played over a samba beat, and which, as plain "Ginza," was the third track on side one of the album's original LP release. During the Stateside bossa nova craze of the early-to-mid-1960s, "Samba" was added opportunistically to the tune's title, and was sequenced as track one, side one on a rerelease of Sextet. It remains in prime position on this 24-bit remastered edition.

The Getz/bossa-gestation idea is, however, fanciful. Aside from the theme statements of "Ginza Samba," Sextet is set in the sumptuously lyrical but altogether "hotter," and firmly US-centric style with which Getz, under the guidance of his manager, Norman Granz, had become a major star by the late 1950s. Getz's Damascene moment came a few years later, via guitarist Charlie Byrd. On a tour of Brazil in 1961, Byrd fell in love with bossa nova; once returned to the US, he sought out Getz, played him the LPs he had brought back from Brazil, and suggested they get together and record their own album in the style. Getz needed no persuading, instantly recognizing that he and bossa nova were made for each other. The result was Getz and Byrd's Jazz Samba (Verve, 1962), plus, in due course, its hit single "Desafinado" (and, over the years, Byrd's acrimonious, and finally successful, pursuit of Getz for a bigger slice of the royalties pie).

A case could, more credibly, be made for Sextet as an album which later reignited Getz's interest in recording with a vibraphonist, following Hamp And Getz (Clef), made with Lionel Hampton in 1955. In 1964, at the height of the bossa boom, Gary Burton joined Getz's band, with which he toured and, in 1964, recorded the album Nobody Else But Me (only released, on Verve, 30 years later). Video footage of Getz and Tjader together does not exist, but Sextet's vibraphone connection provides an excuse to enjoy some wonderfully cheesy US TV footage of the Getz/Burton group (see the second YouTube clip below).

Getz and Tjader had known each other since the early 1950s. Tjader, as a member of pianist George Shearing's group, had been on the February 12, 1954 tour bus journey from Portland to Seattle, at the conclusion of which Getz was arrested for trying to score some heroin by attempting to rob a drug store. The two had long planned to record together, but the opportunity did not arise until their separate touring schedules coincidentally had them both in San Francisco on February 8, 1958, when they recorded Sextet for the Fantasy label. Granz, normally highly protective of his artists, allowed Getz to make the date because, the year before, Fantasy had loaned alto saxophonist Paul Desmond to Granz's Clef label for a quartet record with baritone saxophonist Gerry Mulligan.

Getz and Tjader each brought two colleagues to the session. Tjader brought pianist Guaraldi and guitarist Eddie Duran. Getz brought two precociously talented 21 year olds, bassist Scott LaFaro and drummer Billy Higgins. Both were on the cusp on stardom; LaFaro with pianist Bill Evans' trio, Higgins as a member of alto saxophonist Ornette Coleman's iconoclastic "free" group.

With a lineup like that, you would expect Sextet to make for prime listening, and, indeed, it does. Most OJC reissues include additional material in the shape of unreleased tracks or alternate takes. Sextet does not, because the session went so swimmingly (it was completed in around three hours) that legend holds that second takes were not necessary. Intriguingly, however, critic Ralph Gleason, who was in the studio for the last hour or so, wrote that "no tune, except two, had more than one take and even then it was a tossup as to which to use."

If second takes of such quality were recorded and were still extant in 2011, OJC's remaster would, presumably, include them. The likelihood is that the tapes containing them have been long lost. But no matter. Over the course of its 43 minutes' playing time, Sextet—though not the prologue to Getz's bossa nova—proffers ample delights. ~Chris May

Stan Getz With Cal Tjader Sextet mc
Stan Getz With Cal Tjader Sextet zippy

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Victor Feldman - The Arrival of Victor Feldman

Styles: Vibraphone Jazz

Year: 1958

File: MP3@320K/s

Time: 42:11

Size: 96,9 MB

Art: Front

(3:28)  1. Serpent's Tooth

(5:31)  2. Waltz

(3:58)  3. Chasing Shadows

(3:18)  4. Flamingo

(4:29)  5. S'posin'

(2:46)  6. Bebop

(4:25)  7. There Is No Greater Love

(4:13)  8. Too Blue

(4:00)  9. Minor Lament

(5:59) 10. Satin Doll

Victor Feldman had first recorded as a leader when he was 13 and a swing-based drummer. In 1957, he moved from his native London to the United States, and by early 1958 (when he was 23) was in great demand as a pianist and vibraphonist. For his second American release and debut for the Contemporary label, Feldman is completely in the spotlight. Joined by the brilliant bassist Scott La Faro (whose playing is a strong reason to acquire the album) and drummer Stan Levey, Feldman performs a mostly boppish set including "Serpent's Tooth," "There Is No Greater Love," Dizzy Gillespie's "Bebop," a Chopin waltz and three of his diverse originals. An excellent showcase for the still-developing Victor Feldman. ~ Scott Yanow http://www.allmusic.com/album/the-arrival-of-victor-feldman-mw0000037116

Personnel: Victor Feldman (vibraphone); Scott LaFaro (bass); Stan Levey (drums).

The Arrival of Victor Feldman

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Buddy DeFranco And His Septette - Live Date!

Styles: Clarinet Jazz
Year: 1957
File: MP3@320K/s
Time: 37:09
Size: 85,8 MB
Art: Front

(4:06)  1. Oh, Lady Be Good
(6:09)  2. Satin Doll
(3:02)  3. My Funny Valentine
(4:46)  4. Blues for Space Travellers
(7:03)  5. Tin Reed Blues
(5:24)  6. Crazy Rhythm
(6:36)  7. Ballad Medley: I'm Glad There Is You/There's No You

A very hip session that has Buddy working with some of the fresher modern players on the scene at the time all in a groove that echoes with some of the sharpest notes we've heard from his clarinet in the 50s! The ensemble has a really dreamy feel with flute from Herbie Mann, vibes from Victor Feldman, tenor from Bob Hardaway, guitar from Barney Kessel, and piano and organ from Pete Jolly all backed by rhythm from the legendary Scott LaFaro on bass and Stan Levey on drums. Tracks include "Satin Doll", "Oh Lady Be Good", "Crazy Rhythm", "Blues For Space Travelers", and "My Funny Valentine". (Verve Inc stereo pressing, with deep groove – nice and clean! Top cover seam is split, but taped and back has some light staining. https://www.dustygroove.com/item/676782

Personnel:  Bass – Scott LaFaro;  Clarinet – Buddy DeFranco;  Drums – Frank DeVito;  Flute, Tenor Saxophone, Bass Clarinet – Herbie Mann;  Guitar – Barney Kessel; Piano, Accordion – Pete Jolly;  Vibraphone – Victor Feldman

Live Date

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Buddy De Franco - Bravura: Complete 1959 Septette Sessions (2-Disc Set)

Buddy De Franco (cl), Harry “Sweets” Edison (tp), Bob Hardaway (ts), Herbie Mann (fl, b-cl), Jimmy Rowles, Pete Jolly (p), Victor Feldman (vib), Barney Kessel (g), Curtis Counce, Scott LaFaro (b), Alvin Stoller, Frank De Vito, Mel Lewis (d). Sources CD 1: Tracks #1-6 originally issued on the 12" LP "Generalissimo" (Verve MG V-8363). Tracks #7-10 originally issued on the 12" LP "Live Date!" (Verve MG V-8383). Sources CD 2: Tracks #1-3 originally issued on the 12" LP "Live Date!" (Verve MG V-8383). Tracks #4-10 originally issued on the 12" LP "Bravura" (Verve MG V-8315).

The recordings in the present set are typically fluent, compelling De Franco music in a first-class small combo setting. “I never abandoned the idea of being able to experience a somatic feeling in addition to the intellectual experience of modern music. Both are essential. You gotta have both—the cerebral and the feel, the funk.”

Individually De Franco and Harry “Sweets” Edison blow with the confidence and assertiveness that have become their hallmarks. Kessel takes care of business, lying quietly in the background until it comes his turn to solo, then leaping out to have his say. Jimmy Rowles, Herbie Mann, Bob Hardaway, and the rest of the men playing here are deeply swinging in healthly, mainstream fashion. One of the attractions is the delicacy of some of the ensemble textures and the way in which basic harmonies have been amended to fit the character of these 1959 De Franco Septette. There’s a lot of great listening here whatever your bias.It will be just fine if it does help bring the clarinet back!

Album: Bravura: Complete 1959 Septette Sessions (Disc 1)
Bitrate: MP3@320K/s
Time: 62:49
Size: 143.8 MB
Styles: Clarinet jazz
Year: 2012
Art: Front

[ 5:42] 1. Sunday
[ 9:19] 2. Between The Devil And The Deep Blue Sea
[ 4:54] 3. Tea For Two
[11:24] 4. Ballad Medley 'Round Midnight/You Don't Know What Love Is/How Can We Be Wrong/Lullaby of The Leaves/Yesterdays
[ 4:28] 5. Blue Lou
[ 9:02] 6. Funky's Uncle
[ 4:02] 7. Oh, Lady Be Good
[ 6:06] 8. Satin Doll
[ 3:02] 9. My Funny Valentine
[ 4:45] 10. Blues For Space Travelers

Bravura: Complete 1959 Septette Sessions (Disc 1)

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Album: Bravura: Complete 1959 Septette Sessions (Disc 2)
Bitrate: MP3@320K/s
Time: 63:15
Size: 144.8 MB
Styles: Clarinet jazz
Year: 2012
Art: Front

[7:01] 1. Tin Reed Blues
[6:36] 2. Ballad Medley: I'm Glad There Is You/There's No You/These Foolish Things
[5:23] 3. Crazy Rhythm
[8:44] 4. Just Squeeze Me
[4:03] 5. Undecided
[8:33] 6. Ja Da
[6:32] 7. Ballad Medley 3: Now I Lay Down To Dream/Honey/This Love Of Mine/Darn That Dream
[6:02] 8. Lulu's Back In Town
[5:54] 9. Ballad Medley 2: Old Folks/How Long Has This Been Going On/Please
[4:22] 10. Witty

Bravura: Complete 1959 Septette Sessions (Disc 2)

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Booker Little - Bee Tee's Minor Plea

Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 34:57
Size: 80,2 MB
Art: Front

(6:38)  1. Opening Statement
(5:36)  2. Minor Sweet
(5:36)  3. Bee Tee's Minor Plea
(6:48)  4. Life's A Little Blue
(4:53)  5. Grand Valse
(5:23)  6. Who Can I Turn To (When Nobody Needs Me)

Trumpeter Booker Little's second session as a leader (there would only be four) is a quartet outing (with Wynton Kelly on piano, bassist Scott LaFaro and drummer Roy Haynes) that puts the emphasis on relaxed tempoes. Little's immediately recognizable melancholy sound and lyrical style are heard in top form on "Who Can I Turn To" and five of his originals, some of which deserve to be revived. His jazz waltz "The Grand Valse" (inspired by Sonny Rollins' "Valse Hot") is a highpoint of this set which has been reissued by Bainbridge/Time on CD. ~ Scott Yanow  http://www.allmusic.com/album/booker-little-mw0000313900

Personnel: Booker Little (trumpet), Wynton Kelly (piano), Scott LaFaro (bass), Roy Haynes (drums)

Bee Tee's Minor Plea

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The Bill Evans Trio - The Very Best Of The Bill Evans Trio

Styles: Post-Bop, Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 63:30
Size: 145,9 MB
Art: Front

(5:56)  1. Autumn Leaves
(6:22)  2. My Man's Gone Now
(8:51)  3. Solar
(3:31)  4. How Deep Is The Ocean
(4:33)  5. What Is This Thing Called Love?
(5:22)  6. Blue In Green
(5:03)  7. Beautiful Love
(5:48)  8. Nardis
(4:54)  9. My Foolish Heart
(6:08) 10. Gloria's Step
(6:57) 11. Waltz for Debby

This compilation from Concord compiles 11 tracks from four Bill Evans Trio albums recorded between 1959 and 1961: Portrait in Jazz, Explorations, and the live Waltz for Debby and Sunday at the Vanguard. The lineup, of course, is Evans' classic trio with bassist Scott LaFaro and drummer Paul Motian. While this may be merely another attempt by the label to milk Riverside's catalog, there is a very practical purpose for such a compilation, and that argument is put forth in Neil Tesser's liner notes: that this trio used Evans' "trialog" system to "prefigure a change in the very fabric of jazz." In Evans' estimation, the trialog was a way to look at new conceptions and possibilities for the piano trio. Instead of the pianist merely leading a supporting rhythm section, he would in fact be one of three equal players in an ongoing musical conversation; he would be informed by the other two members, and be free to follow them as well as lead. 

The members of this trio cover a wide patch of ground, not only in their ability to push the music further into an intimate creative conversation, but to free themselves, at least to a great degree, of the burden of history. The evidence is abundant in the originals such as LaFaro's "Gloria's Step," Evans' "Waltz for Debby," and even "Blue in Green," co-composed with Miles Davis. Speaking of Davis, both "Nardis" and "Solar" are here as well. Arguably, the evidence that the trialog can shift meaning and logic in jazz is best borne out by the interpretation of standards such as "Autumn Leaves," "My Foolish Heart," "What Is This Thing Called Love?," and George Gershwin's "My Man's Gone Now."

Here, the nature of song emerges not from the harmonic changes employed by the pianist, but from the collective interaction of the trio itself. While Evans scholars and hardcore fans don't need to be reminded of the trio's contribution, there are still many listeners, mostly younger, who are seeking an introduction to Evans' music outside of his contribution to Kind of Blue. The Very Best of the Bill Evans Trio provides an excellent entry point for a budget price. ~ Thom Jurek  http://www.allmusic.com/album/the-very-best-of-the-bill-evans-trio-mw0002363992

Personnel: Bill Evans (piano); Paul Motian (drums); Scott LaFaro (bass).

The Very Best Of The Bill Evans Trio

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Hampton Hawes - For Real !

Styles: Hard Bop, Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 45:43
Size: 104,9 MB
Art: Front

( 6:14)  1. Hip
( 9:20)  2. Wrap Your Troubles In Dreams
( 6:44)  3. Crazeology
( 8:04)  4. Numbers Game
(11:20)  5. For Real
( 3:58)  6. I Love You

Although For Real! was at least Hampton Hawes' 11th record as a leader, it was his first (and one of his relatively few) that included a horn player. The pianist matches quite well with the hard bop tenor of Harold Land (heard in his early prime), and the quartet outing, which also includes drummer Frank Butler, has an extra bonus in the playing of the brilliant bassist Scott LaFaro. Performing three bop standards (including "Crazeology") and three originals (two of which were co-written by Land), pianist Hawes sounds inspired by the other players and is in top form throughout the generally memorable outing. 

~ Scott Yanow  http://www.allmusic.com/album/for-real!-mw0000201517

Personnel: Hampton Hawes (piano, keyboards); Harold Land (tenor saxophone); Frank Butler (drums); Scott LaFaro (bass).

For Real !

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Scott Lafaro - Pieces Of Jade

Styles: Straight-ahead/Mainstream
Year: 2009
File: MP3@320K/s
Time: 73:29
Size: 168,5 MB
Art: Front

( 6:15)  1. I Hear A Rhapsody
( 6:09)  2. Sacre Bléu (Take 1)
( 6:34)  3. Green Dolphin Street
( 6:15)  4. Sacre Bléu (Take 2)
( 5:35)  5. Woody'n You
(22:41)  6. My Foolish Heart (Rehearsal Tape:  Bill Evans & Scott LaFaro - 1960)
(13:35)  7. Interview with Bill Evans by George Klabin 1966
( 6:22)  8. Memories for Scotty

Bassist Scott LaFaro was killed in an auto accident in 1961 at only 25, cutting off a career in which he was destined for greatness. Before his death he had already made a name for himself in pianist Bill Evans' groundbreaking trio, which also included drummer Paul Motian. This group was immortalized by its 1961 recording at Village Vanguard, Sunday at The Village Vanguard and Waltz for Debbie, both released by Riverside the same year. These live dates set the standard for piano trios; the playing melding seamlessly, with each player given ample opportunity to stand out on his own. Here, Pieces of Jade features material previous lyun available.

Five selections were recorded in New York City in 1961, showcasing LaFaro with pianist Don Friedmanand drummer Pete LaRoca. As a bonus, the CD offers a 22-minute recording from an extended 1960 practice session with LaFaro and Evans, as they put together their famous version of "My Foolish Heart." Included, as well, is a 13-minute 1966 interview with Evans reflecting on LaFaro, his life and talent. The play list consists of a mix of standards, along with two takes of an original by Friedman. The program finishes with Friedman's moving solo piece, "Memories for Scotty," recorded in 1985. The greatness of LaFaro is reestablished here as he once more excels in the trio format. In this context, it's possible to further appreciate LaFaro's improvisational skill and full bass sound, as he rhythmically marches through Friedman's "Sacre Bleu" and frames his buoyant solo on "Green Dolphin Street." The pleasant surprise of this record is Friedman. 

Always an under-appreciated musician, he still plays today. In this early effort his sparkling genius is apparent throughout. Certainly influenced by Evans, Friedman also shows a pleasant penchant for Red Garland's block chords as in "Sacre Bleu." His lightning pace is on display particularly as he trades fours with LaRoca in Dizzy Gillespie's "Woody'n You." The rehearsal session tape with Evans is certainly interesting, but marred by garbled sound. More enlightening is the Evans interview with George Klabin, with Evans analyzing what made LaFaro's playing so unique. One thing Evans says is that he had to advise LaFaro to control himself, to hold back. He was trying to say too much as he improvised. This is indeed ironic. In his short life, he had so much to say, it's very fortunate to have another recording to add to his legacy. ~ Larry Taylor  http://www.allaboutjazz.com/pieces-of-jade-scott-lafaro-resonance-records-review-by-larry-taylor.php#.VEBQpBawTP8
 

Personnel: Don Friedman: piano; Scott LaFaro: bass; Pete LaRoca: drums.

Pieces Of Jade

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Scott Lafaro - '58 Jazz Sessions: Live And Rare

Bitrate: 320K/s

Time: 43:21

Size: 99.2 MB

Styles: Bebop

Year: 2011

Art: Front

[2:45] 1. Cherry

[3:05] 2. There's No Greater Love

[3:09] 3. Chart Of My Heart

[9:34] 4. Rehearsal Blues

[2:42] 5. Bebop

[3:37] 6. Crow's Nest

[3:18] 7. Liz-Anne

[3:36] 8. Until The Real Thing Comes Along

[1:44] 9. You Are My Lucky Star

[3:30] 10. Deep In A Dream

[3:08] 11. Tumbaro

[3:07] 12. Flamingo

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.

'58 Jazz Sessions: Live And Rare

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Joe Gordon & Scott Lafaro - West Coast Days

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 56:00
Size: 128,4 MB
Art: Front

( 5:49)  1. Our Delight
(11:58)  2. Summertime
(11:41)  3. Poinciana
(11:12)  4. It Could Happen To You
(15:17)  5. Bass Blues

This compilation might indicate that Joe Gordon and Scott LaFaro appear together on these live recordings made at the Lighthouse, but they are individually featured with two separate groups. Gordon, a fine trumpeter who died far too young, is heard with pianist Russ Freeman, tenor saxophonist Richie Kamuca, bassist Monty Budwig, and drummer Shelly Manne. "Our Delight" is joined in progress at the end of Gordon's opening solo, but the band is clearly energized. Gordon opts for a mute and interacts well with Freeman in a loping, extended treatment of "Summertime." Kamuca kicks off the long take of "Poinciana" with a blistering solo; Gordon's solo is equally full of energy, even if he isn't picked up as well by the microphone. 

Scott LaFaro is joined by Kamuca, pianist Victor Feldman, and drummer Stan Levey for a 1958 set. The first track is identified as "It Could Happen to You" (by Jimmy Van Heusen and Johnny Burke) and is introduced as such by Kamuca at the end of the performance, but it sounds nothing like the well-known standard. This midtempo ballad has a snappy rhythm and good solos, though LaFaro's intricate work is backed only by Levey. Since this set was likely a jam session, there are no phenomenal solos like those that featured LaFaro in his recordings with the Bill Evans Trio. Feldman's solo is the highlight of John Coltrane's "Bass Blues." Both recordings were purportedly made by Lighthouse jam session organizer (and sometime bassist) Howard Rumsey; they add to the recorded legacy of two potentially great musicians who died far too young. ~ Ken Dryden  http://www.allmusic.com/album/west-coast-days-mw0000018433

Personnel: Joe Gordon (trumpet); Scott LaFaro (bass); Richie Kamuca (tenor saxophone); Russ Freeman (piano); Monty Budwig (bass); Shelly Manne, Stan Levey (drums).

West Coast Days

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