He told Helene that “Scott lived for the bass…He was looking all the time to play. He used a Zen epigram in the closing of his letter to Gloria: “I’m trying to remember a bit of Zen I like so well: ‘If you seek the fruits of…good action…so shall they escape you.’ I try to smile everyday with that.”© 2020 New England Public RadioJoe LaBarbera, who drummed in the trio with Evans and Johnson, says, “Bill said regarding Scott and the music, that Scott hated it when it remained the same. We were like brothers.”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. Most musicians were issuing two, three, and even four records a year during the same era. A thoughtful and (despite the overdubbing) spontaneous-sounding set of melodic music.Recorded live at the Montreux Jazz Festival, Casino De Montreux, Montreux, Switzerland on June 15, 1968. 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. Overview ↓ Biography ↓ Discography ↓ Songs ↓ ** also released on Contemporary S9005, CCD-9005-2.Contemporary Records, Los Angeles, CA, March 17, 1958Bill Evans, piano; Scott LaFaro, bass; Paul Motian, drums."Birdland", NYC, March 12, 1960Donald Cherry, pocket trumpet; Freddie Hubbard, trumpet; Eric Dolphy, bass clarinet; Ornette Coleman, alto sax; Charlie Haden, Scott LaFaro, bass; Ed Blackwell, Billy Higgins, drums.Bill Evans, interviewee; George Klabin, interviewer.Buddy Morrow, trombone, vocals, leader; possibly Scott LaFaro, bass; Frankie Lester, Tommy Mercer, vocals; Four Stars, unidentified orchestra, and others.Herbie Mann, flute, tenor sax, bass clarinet; Buddy DeFranco, clarinet; Pete Jolly, piano, accordion; Victor Feldman, piano, vibes; Barney Kessel, guitar; Scott LaFaro, bass; Frank DeVito, drums.Walt Stewart, trumpet; Buddy Morrow, trombone, leader; Dick Johnson, alto sax; Scott LaFaro, bass; unidentified orchestra. ** also released on Mercury MG-20210.Thad Jones, trumpet; Herb Geller, alto sax; Hank Jones, piano; Scott LaFaro, bass; Elvin Jones, drums; Barbara Long, vocals #1,2.Los Angeles, CA, January 21 & 22, 1958** originally released as Contemporary M5005 + 5 bonus tracks.Hampton Hawes, piano; Scott LaFaro, bass; Frank Butler, drums.Buddy Morrow, trombone, leader; Scott LaFaro, bass; unidentified orchestra, and others."Birdland", NYC, March 19, 1960Pat Moran, piano; Scott LaFaro, bass; Gene Gammage, drums.
** originally released as Riverside RLP 1162 + 4 bonus tracks.Stan Getz, tenor sax; Steve Kuhn, piano; Scott LaFaro, bass; Roy Haynes, drums.
[My] early years at the university were thoroughly engaging intellectually but were also a time of deep introspection. “All that listening to the trio had another effect on me. The Cologne Stadtgarten venue was crammed that mid-February eve in 2011. 1. Evans, with Paul Motian and Scott LaFaro, was onto something as a trio, exploring the undersides of melodic and rhythmic constructions that had never been considered by most. I adored him, and I was thrilled to be able to work with him. ** also released on Time S/2011.Jim Hall, guitar; Scott LaFaro, bass; & The Contemporary String Quartet: Charles Libove, Roland Vamos, violin; Alfred Brown, Harry Zaratzian, viola; Joseph Tekula, cello; Jim Hall, composer; Nesuhi Ertegun, John Lewis, supervisor.Steve Kuhn, piano; Scott LaFaro, bass; Pete La Roca, drums.Stan Getz, tenor sax; Steve Kuhn, piano; Scott LaFaro, bass; Pete La Roca, drums."Birdland", NYC, April 30, 1960 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. This album is further distinguished by its emphasis on the solo work and compositions of the innovative LaFaro.On A Monday Evening offers jazz fans a rare treat: an unreleased (and never bootlegged!) This 1961 performance at New York’s Village Vanguard backed up by drummer Paul Motian and bassist Scott LaFaro is perhaps the high mark of Evans’s career, and also one of the most influential recordings in jazz history.