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Scott LaFaro Discography: 1958

Table of Contents

 1958 01.21  The Arrival of Victor Feldman  Victor Feldman
 1958 02.08  Cal Tjader -- Stan Getz Sextet  Cal Tjader & Stan Getz
 1958 03.17  For Real!  Hampton Hawes
 1958 04.04  Live Date!  Buddy DeFranco
 1958 04.07  Kamuca Feldman Tjader  Richie Kamuca, Victor Feldman, Cal Tjader [1991 LP]
 1958 06.??  Jazz at A. N. A.   Howard Rumsey's Lighthouse "all-stars" 
 1958 09.??  West Coast Days  Joe Gordon & Scott LaFaro [1992 CD]
 1958 11.??  Stan Kenton &  His Orchestra  Stan Kenton
     
     
 1958 11.??  Jazz at the Cellar 1958  Harold Land [2007 CD]
     

 

 

The Arrival of Victor Feldman  Los Angeles, CA: Contemporary Records, 1958. Contemporary C-3549 / S-7549. 1 sound disc : 33 1/3 rpm, mono ; 12 in. “Recorded January 21 & 22, 1958, . . . in Los Angeles. Sound by Roy DuNann and Howard Holzer. Produced by Lester Koenig.” Program notes by Nat Hentoff, dated March 30, 1958. Album cover photograph by Stan Levey.

Performers:

Program:

Side 1

Side 2

OCLC Record #14 645 806 BGU 19861106

Excerpts from program notes:

“It was shortly after he [Feldman] began at the Lighthouse that Victor, Scott LaFaro and Stan Levey started playing together, first at the club and then `we felt so good together we played on our own.' . . .

Bassist Scott LaFaro, who makes his first full-scale recording debut on this album, is in the estimation of this fearer of hyperbole, the most important `new' bassist since Paul Chambers and Wilbur Ware.

Rocco Scott LaFaro was born in Newark, April 3, 1936. His father was a violinist who had played around New York, mostly with dance bands. Scott grew up in Geneva, New York, a town between Rochester and Syracuse, where he attended high school followed by a year at Ithaca Conservatory. He had studied clarinet at 14 and eventually tenor on which he gigged around Geneva.

His clarinet playing was in the classical idiom, and he majored on the instrument during his year at the conservatory. He left school in the spring of 1955, and decided to concentrate on the bass which he'd picked up the summer he'd been graduated from high school. He's never since played clarinet or tenor.

Scott had had half a dozen lessons as a bass minor at Ithaca, but otherwise he's entirely self-instructed on the instrument. He became a professional in the summer of 1955, working in rhythm and blues bands -- and a few jazz gigs -- in Syracuse and Rochester. That fall he joined Buddy Morrow, being hired without an audition, and remained until the fall of 1956.

Scott joined Chet Baker a few weeks later, and stayed with him until May 1957 when he came to Los Angeles. For some five months, Scott spent most of his time practicing in semi-seclusion. `I couldn't find enough work, [says LaFaro] and besides, I definitely needed the practice.'

In December, 1957, Scott went to Chicago and worked a few weeks with Pat Moran and Ira Sullivan. Since then, he has been back in Los Angeles, playing occasionally at the Lighthouse, and most recently with Barney Kessel's new quartet.

Vic Feldman first heard Scott in New York in the spring of 1957 with Chet Baker. He was instantly impressed. That July, when Vic came to Los Angeles, he had a chance to play with Scott. They worked a few dates together for Buddy DeFranco. The musical respect between the two is firm and reciprocal. `I think,' says Scott, `that Vic is the most inventive vibist since Milt Jackson and he can play piano and drums very expressively too.'

TOC

Cal Tjader -- Stan Getz Sextet   San Francisco, CA: Fantasy Records, [1958?]. Fantasy LP 3266 / LPS-8005. 1 sound disc (42:00) : analog, 33 1/3 rpm, mono ; 12 in. “Recorded in San Francisco, February 8, 1958”. Notes by Ralph Gleason.

Performers:

Program:

Review: "J. A. T." Down Beat 25:20 (October 2, 1958), pp. 38, 40. Rating: 3.5 stars

"On repeated playing of these tracks one is left with a happy feeling that the rhythm duo were the 'baddest' cats on the date. Higgins is a solid time player with good technique and unshakable conception (dig his fours on Ginza). LaFaro, however, is a much more potent cup of tea. He solos only once in this set, on [Crow's] Nest, and it is a breathless experience, indeed. Clearly, a brilliant future is in store for this youthful bassist from Geneva, N.Y."

Note: OCLC Record #9 736 444 MeLB DLC BTS BGU 19830725

Note: Reissued in 1963 as Fantasy F-3348 with the title Stan Getz with Cal Tjader. “Fantasy Presents Stan Getz” [LP label] with program notes by Grover Sales, Jr., Feb 1963.

Note: Program order: 1. Ginza Samba, 2. I've Grown Accustomed To Her Face, and 3. For All We Know on Side 1; same as for Side 2.

TOC

 

For Real! [Hampton Hawes quartet] Los Angeles, CA: Contemporary Records, [1961?] Contemporary Stereo S 7589. 1 sound disc : 33 1/3 rpm, stereo ; 12 in. “Recorded March 17, 1958 at Contemporary Records in Los Angeles. Sound by Roy DuNann. Produced by Lester Koenig.” Program notes by Leonard Feather, dated July 8, 1961. Cover photo of Hawes by Stan Levey. Photograph of LaFaro by Roger Marshutz.

Performers:

Program:

Side 1

Side 2

Note: OCLC Records #7 983 345 SPP 19811208; #27 859 154 CIN 19930505 (M3589);
                                #28 143 318 DPL 19930521 (OJCCD 713 2)

“Scott LaFaro . . . made his debut as a tenor saxophonist in and around Geneva, New York, and took up bass on graduating from high school. After a little early experience in rhythm and blues groups, and with Buddy Morrow's dance band, he rose to the jazz surface with Chet Baker in 1956-7, worked with Barney Kessel, Ira Sullivan, and Benny Goodman in Hollywood, Chicago, and New York respectively.

He worked with Ornette Coleman in 1960, and recently as a member of Stan Getz's quartet. An admirer of Paul Chambers, Charles Mingus, and Percy Heath, he is the most extraordinary technician on the instrument since Red Mitchell, and was acknowledged via a `New Star' victory in the 1959 Down Beat critics' poll.”

[Side bar] `Scott LaFaro, 1936-1961' by Lester Koenig. As these notes were about to be printed, we were shocked to learn of Scott LaFaro's death in an automobile accident, July 6, 1961. Scotty did his first record date for Contemporary in January 1958, when Victor Feldman asked us to send to Chicago for him. From the moment Scotty started to play, it was obvious he was one of the best bassists in jazz. Hearing him many times in recent years – with Sonny Rollins, with Ornette Coleman, and on his last appearance in Los Angeles with Stan Getz – only served to confirm and strengthen that opinion. His untimely death is a great loss to jazz and to his many friends.

TOC

   

Live Date!  Buddy DeFranco and His Septette. [Los Angeles: Verve, 1958]  Verve MG-V-8383. 1 sound disc, analog ; 33 1/3 rpm, mono ; 12 in.  Program notes by Benny Green, The London Observer. [Recorded April 4, 1958 at Los Angeles (Ruppli discography, p. 243)].

Performers:

Program:

Side 1

Side 2

Note: Matrix numbers are from Michel Ruppli, comp., The Clef/Verve Labels: A Discography, Volume 1:  Norman Granz Era.   Westport, CT: Greenwood Press.  2 volumes.

Note: The Monti discography (Jazz 360 [degrees] #21, Oct 1979, indicates this album was recorded in “Los Angeles, aout [August] 1957”. Added information is in brackets. Such information is not on the album itself.

Review: [J.S.W.] Down Beat 28:08 (April 13, 1961), p.32.  Rating: 2.5 stars

"Superficial evidence would suggest that this album is the result of a session held several years ago. The [Herbie] Mann we hear here is the thin-toned, unresolved flutist of the years before he found how to fit his flute into an African drum ensemble. the tentativeness of [Victor] Feldman's work on vibes also indicates that this was recorded some time ago, for he has developed immeasurably beyond the performances he turns in here. DeFranco, too, plays with the balance between cold exercises at up-tempos and rich-toned warmth on slow pieces that seemed to be the sum of his alternatives before his recent association with Tony Gumina opened up some new resources in him.

But with all this, there are good things in the set. Working with just the rhythm section, DeFranco turns out a beautifully sustained slow treatment of My Funny Valentine. And Tin Reed Blues (from the roof of the same material) offers a fascinatingly Ellingtonian opening and closing ensemble. [Pete] Jolly has a few bright spots on both piano and accordion, and LaFaro's bass helps tremendously in swinging the up-tempo pieces."

TOC

Kamuca  Feldman  Tjader:  Featuring Scott LaFaro.  Tokyo:  Vantage Records, 1991.  NLP 5007. (The Bob Andrews Collection)  1 sound disc, analog ; 33 1/3 rpm, mono ; 12 in.   Recording: Bob Andrews, Remastering: S. O. S. Japan, Produced by Shuichi Iwama, Coordination by Toshiya Taenaka, Back Cover Illustration: Seiji Yamashita, Cover Design: Takeshi Msuda. Manufactured and Distributed by NORMA. "Under Licensed [sic, in recté License] by Bob Andrews" (from jacket)

Program: (SLF plays on tracks in bold case)

Side A

  1. Too Close For Comfort
  2. What's New
  3. Just Friends
  4. Cherry
  5. Deep in Dream
  6. Chart of My Heart

Side B

  1. There's No Greater Love
  2. Flamingo
  3. Be Bop
  4. Crows Nest
  5. Leazon
  6. Tumbao

Performers:

                A1 -- A3 (recorded 1957.10.21):

  • Richie Kamuca, tenor sax
  • Carl Perkins, piano
  • Leroy Vinnegar, bass
  • Tony Bazley, drums

                A4 -- A6 (recorded 1958.04.07)

  • Richie Kamuca, tenor sax
  • Frank Rosolino; trombone
  • Scott LaFaro, bass
  • Carl Perkins, piano
  • Stan Levey, drums

      B1 -- B3 (recorded 1958.11.10)

  • Victor Feldman, piano
  • Scott LaFaro, bass
  • Stan Levey, drums

      B4 -- B6 (recorded 1958.06.30)

  • Cal Tjader, vibraphone
  • Vince Guaraldi, piano
  • Scott LaFaro [sic, in recté Al McKibbon] bass
  • Billy Higgins, drums
  • Bernard Verlardi, percussion (B6 only)

Bob Andrews, originally from Wisconsin, lived in California during the 1950s and made several 'home recordings' of many West Coast jazz ensembles during 'live' performances. Many of his recordings were issued on the Xanadu label.  These particular sessions released by NORMA and Vantage Records were never previously released.

The 7 April 1958 session (tracks A4 -- A6) sound identical to the same three tunes recorded as part of the Bobby Troup TV broadcast, "The Stars Of Jazz". See my annotation of the Richie Kamuca Quintet from the Bobby Troup "The Stars of Jazz" show for more details.

The 10 November 1958 session (tracks B1-- B3) lists three tunes recorded in January 1958 by Contemporary Records and released as The Arrival of Victor Feldman.

The 30 June 1958 session (tracks B4 -- B6) lists LaFaro as bassist, but the sound is not LaFaro's.  Two of the three tunes, 'Crows Nest' (B4) and 'Leazon' (B5), the latter as 'Liz-Anne', however, are on the February 1958 recording Cal Tjader -- Stan Getz Sextet, which includes LaFaro as bassist.

NOTE:  Special thanks to John Sanna for helping me locate and obtain this LP recording.

NOTE:  (Reference, e-mail from James A. Harrod, 2 Feb 05)

TOC

    image from a photocopy from Helene Fernandez

Jazz at A. N. A. [Army and Navy Academy]  2nd All Star Concert. Produced by First Classmen of Army and Navy Academy. "First Classmen Promotions" [Los Angeles? : 1958?].  1 sound disc, analog ; 33 1/3 rpm, mono ; 12 in.  Program notes by Mr. James F. Hannon, Sponsor, A. N. A. Class of 1958.  On cover:  'Jazz at ANA -- Presented by Class of '58"

DO NOT HAVE

Performers:

Program:

Note:  Ms. Helene LaFaro-Fernandez recalls her brother Scott telling her that he performed with the Howard Rumsey all stars for this recording at A. N. A. in 1958. She has a copy of the LP and this discographical information is taken from the liner notes on the jacket of the LP. (in conversation, 1997)

Excerpts from liner notes (by James F. Hannon)

In West Coast Jazz, a major role has been played by a group of all-stars from The Lighthouse in Hermosa Beach [California].  yes, 1948 was the year that Howard Rumsey began to shake the music world and to bring out a new style.  The most remarkable thing about Howard was his conviction that modern jazz could also be popular jazz, and that this could be accomplished without concessions or compromises.  His policy was to ignore the meaningless divisions between the various modern jazz groups, to bring together the finest available instrumentalists and writers, and to transform the concert stage into a workshop where their music could be heard by larger audiences. Howard's tenacity and his immense gifts as an organizer overcame both the incredulity of the musicians and the apathy of the public. Modern jazz is now firmly established in southern California, and Howard is the man most responsible for bringing this music and you together.  

It was then bound to happen.  The Army & Navy Academy, with many fine ears for good music and one of the most beautiful campuses in California to set the state with, had to come together.  The cadets at the Academy, especially an older group known as the First classmen (seniors), heard Howard and the many stars he has turned out, and the many selections that his new ideas had displayed, got their heads together and decided to feature a concert here at the Academy where everyone could here it too. We then took the music out of the club again and put it 'live' on the campus.  The head of the Academy, Col. W. C. Atkinson, was pleased [as] former Band Master . . . along with Capt. Al. Polhamus, Band Instructor at the Academy.

The First classmen brought the first concert in December of 1956 and again for this date [1958]. This time jazz clubs were formed, the local disk jockey gave his full help in promoting another annual concert, even to the extent of broadcasting it from the stage 'live' (plus other DJ's who spread the concert date over many states). The concert lasted three hours with three sets of the finest of all types of jazz that this album represents.

TOC

West Coast Days. Joe Gordon and Scott LaFaro. [Compact Disc] Featuring Ritchie Kamuca, Victor Feldman, Russ Freeman. [Los Angeles?:] Fresh Sound Records [1995?] FSCD-1030. 1 sound disc : digital ; 4 and 3/4 in.  From “previously unreleased” recordings made by Howard Rumsey at the [Hermosa Beach, CA] Lighthouse, September 1958. Produced for release by Jordi Pujol, copyright 1992 by Camarillo Music, Ltd. Unattributed photographs of LaFaro on front and rear of case and in program booklet.

Performers:

Program:

Excerpts from program notes (note: program notes update those by Nat Hentoff accompanying the recording, The Arrival of Victor Feldman, with the following additions):

In June 1961, LaFaro had recorded with pianist Bill Evans, a recording which turned out to be one of his last, because on 6th July, the 25-year old bassist was killed instantly when his car crashed into a tree near Geneva, NY. He had been visiting his mother on his way back from the Newport Jazz Festival, where on the 3rd of July he'd played in the Stan Getz quartet.

The great tragedy was that Scott LaFaro's development was beginning to pass belief. With his incredible bass technique, he left musicians open-mouthed when playing complex interlocking lines with Evans, for example, and he amazed everyone who heard him. And the general public too was beginning to get the message.

And the message is still valid. Both [Joe] Gordon's and LaFaro's, as much today in 1992, as when they were at their peak. Here then, is the message. . . .

Let Howard Rumsey himself have the last word, for in October 1992, looking back at those Lighthouse days, Rumsey stated that: `watching and hearing Scott LaFaro during his development as a bass player and musician was a privilege I will always cherish. In my mind he showed remarkable dedication, focus and musical intuition, His use of two bass voices, a falsetto-like solo sound and a full-bodied, well-rounded walking tone timbre, made him an inspiration to most jazz bass players that heard him or followed him.'”

Note: This CD's three other selections are by a quintet that includes Kamuca with Joe Gordon, trumpet; Russ Freeman, piano; Monty Budwig, bass; and Shelly Manne, drums. Session was recorded at the Lighthouse, July 31, 1960. Program includes an incomplete `Our Delight' (Tadd Dameron) 5:29; `Summertime' (Gershwin-Heyward) 11:48; and `Poinciana' (Simon-Lliso-Bernier) 11:42. Total time 56:06.

TOC

NO PHOTO

Stan Kenton & His Orchestra / [S.l] Artistry Record 101, [1958?]

DO NOT HAVE

Note: According to the record jacket, this recording was made at Sarasota, FL, sometime in 1958 while Kenton was on the road. The recording's jacket has a front cover photo of the orchestra on stage presumably including LaFaro with his bass.

A copy of the recording is in the possession of Helene LaFaro-Fernandez.

Recording has been re-issued on CD as Stan Kenton / Kessler Air Force Base [Live]. (It's Keesler AFB not Kessler).

NOTE: Re: 22 Nov 02 e-mail from Steven D. Harris, author of Kenton Kronicles."

"About the Artistry 101 record: first, it is very misleading.  It was not recorded on 11/6/58 at the Municipal Auditorium [Sarasota, Florida].  It was actually recorded 11/11/58 at Keesler AFB [Air Force Base] in Biloxi, Miss.  It has been reissued on CD by another source and the sound quality is better. The bassist on that is (again) Red Kelly."

TOC

Jazz at the Cellar 1958 . The Harold Land Quartet. [Barcelona, Spain] Lone Hill Jazz, 2007 LHJ 10291. 1 sound disc : digital ; 4 and 3/4 in. Includes 6-pp. program booklet. Recorded 'live' at The Cellar, Vancouver, Canada, November 1958. TT=79:37.

Performers:

Program:

Notes:

Program booklet's text authored by Morton James.

 

 

 

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 Bibliography -- Mags S-Z  Chronology -- 1961  Discography -- 1980--1989  Sunday Vanguard Matrix
 Bibliography -- Miscellany  Discography -- 1990--1999
 Bibliography -- Web Sources    Discography -- 2000--  2001 ISB LaFaro Tribute

 

Copyright 1998-2003, Charles A. Ralston. All rights reserved.
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Last revised:  2007-09-02
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