Podcasts about Scott LaFaro

Can you believe the most celebrated Bill Evans Trio was only together for 18 months? In this episode, we're looking at early 60's Bill alongside Scott LaFaro and Paul Motian, and the four albums they recorded together before LaFaro's tragic death at just 25 years old. From Portrait in Jazz and its cross-over with Miles Davis' Kind of Blue through Sunday at the Village Vanguard and Waltz for Debbie – recorded live on the same day in June 1961. We break down their conversational approach to jazz standards like “Autumn Leaves,” geek out over Bill Evans music theory, and explore his distinct voicings and voice leading techniques. Whether you're a mid-century jazz aficionado or just looking for the perfect “sweater weather trio songs to somberly study to,” we've got just the playlist for you.ABOUT OPEN STUDIO------------------------------------------------------------------------------------------------------------------------------------------------------------As the premier online jazz education platform, with an ever-expanding course library and 20,000+ members, Open Studio (OS) has everything you need to excel and thrive on your jazz journey.Featuring everything from beginner to advanced lessons, engaging courses from A-list instructors, step-by-step curriculum, real-time classes and a thriving and incredibly supportive community, OS is the perfect platform to level up your jazz playing, whether you're a total beginner, or an advanced pro-level improvisor.Try OS Membership today! → https://osjazz.link/aboutAll about YHIhttps://lnk.to/youllhearitYB

Waltz for Debby es un álbum en vivo delpianista y compositor de jazz Bill Evans y su trío formado por Evans, el bajista Scott LaFaro y el baterista Paul Motian . Fue lanzado en 1962. El álbum fue el cuarto y último trabajo de la unidad: LaFaro murió en un accidente automovilístico solo diez días después de la fecha en vivo en el Village Vanguard de la que se tomaron Waltz for Debby y su predecesor, Sunday at the Village Vanguard . La pérdida de LaFaro afectó duramente a Evans, y entró en una breve reclusión. Cuando Evans regresó al formato de trío más tarde en 1962, fue con Motian y el bajista Chuck Israels . [ 2 ] La canción principal, un retrato musical de la sobrina de Evans, se convirtió en un elemento básico de su repertorio en vivo en años posteriores. Originalmente apareció como una pieza para piano solo en el álbum debut de Evans, New Jazz Conceptions . Sigue siendo la que probablemente sea la canción más conocida de Evans, [ cita requerida ] una que tocaría a lo largo de su carrera. La reedición en CD del álbum contiene varias tomas descartadas. Las grabaciones de todo el día se publicaron en 2005 con el título The Complete Village Vanguard Recordings, 1961 . El álbum es ampliamente considerado como uno de los mejores del canon de Evans, y el tipo de interacción emotiva entre los músicos que en algunos puntos parecía casi deconstruida ha servido como modelo para la interpretación en trío con piano. [ 9 ] El crítico de AllMusic Thom Jurek escribió: "Mientras que el álbum Sunday at the Village Vanguard se centró en material donde LaFaro solos prominentemente, esto es mucho más un retrato del trío en esas fechas... De las muchas grabaciones que Evans publicó, las dos fechas de Vanguard y Explorations son las expresiones máximas de su legendario trío". [ 4 ] C. Michael Bailey de All About Jazz escribió: "Junto con el prodigio del bajista Scott LaFaro y el baterista Paul Motian, Evans perfeccionó su visión democrática de la cooperación del trío, donde todos los miembros actuaron con perfecta empatía y telepatía... Son estas actuaciones, actualmente disponibles como Sunday at The Village Vanguard y Waltz for Debby, las que comprenden la mejor grabación de jazz en vivo número uno en esta serie actual" El grupo Libérica, liderado por el contrabajista Manel Fortià, nos presenta su segundo disco, ‘ALÉ – Iberian Chants’, con una banda de lujo donde destaca la incorporación de Alba Careta y las colaboraciones estelares de Antonio Lizana y Carles Dénia. Tras el reconocimiento obtenido con el anterior disco, Libérica ha podido tocar con gran éxito de público en escenarios tan emblemáticos como el Bimhuis de Ámsterdam, Lantaren Venster de Rotterdam, Festival de Jazz de Vitoria, Castello Sforzzezzo de Milán, Budapest Music Center o en el Unterfahrt de Munich, entre otros. Ahora con un sonido más maduro nos presentan ‘ALÉ – Iberian Chants’, un homenaje a los cantos libres y a los cantos de trabajo tanto del norte como del sur y a las fuertes conexiones que existen en la Península Ibérica, siempre buscando puntos en común entre la canción tradicional catalana, valenciana y el flamenco. Las voces del cantaor catalán Pere Martínez, el valenciano Carles Dénia y el gaditano Antonio Lizana, representan estos mundos coexistentes dentro de la Península que se encuentran en Libérica de una forma orgánica y libre gracias al jazz. La trompeta y la voz de la maravillosa Alba Careta y el saxo de la joven y talentosa Aina López, aportan aire fresco y nueva energía. En la base rítmica encontramos al pianista Max Villavecchia, la batería de Raphael Pannier y Oriol Roca, y el propio Manel Fortià en el contrabajo que, desde la retaguardia, dirige el barco. Un recorrido musical por la Península de este a oeste y de norte a sur a través de sus cantos y siempre al servicio de la música. Paseamos por tierras valencianas y descubrimos las Malagueñas, las Granaínas, los Cants de Batre… mientras seguimos con un pie en Cataluña y el otro en Andalucía, fusionando canciones de cuna y otras músicas emblemáticas de estas culturas, muy bien interpretadas por la voz principal de Pere Martínez, que nos seduce demostrando una gran variedad de registros y una facilidad innata para adaptarlas a nuestros tiempos. ⭐⭐⭐⭐

Summary  Brian Bromberg, a virtuoso bassist, honors the legacy of Scott LaFaro with his latest album, LaFaro, and a series of live performances. LaFaro, who tragically died at 25, was a groundbreaking bassist with the Bill Evans Trio, inspiring Bromberg's tribute. Initially reluctant to take on the project due to the pressures of honoring a jazz legend, Bromberg eventually embraced it after realizing LaFaro's profound influence on his playing. Bromberg also shares personal connections to jazz greats like Stan Getz, with whom he played, and Bill Evans, a missed opportunity from his youth. His career spans collaborations with top artists and an eclectic solo catalog ranging from traditional jazz to contemporary styles. Known for his versatility on upright and electric bass, Bromberg defies genre boundaries, seeking to deliver heartfelt, high-quality musicianship in every project. His performances and music continue to celebrate innovation and jazz's rich history. https://njjs.org/magazine/

On this week's episode we take a pit stop in the world of Bill Evans with his album "Portrait In Jazz". This is the first studio album of his trio with Scott LaFaro on bass and features some incredible piano trio playing that has been influential to many. Our overall combined rating for the album is 9.5/10, make sure to take a listen to our thoughts and how we came up with that score! Feel free to reach out to us with any listener questions or album recommendations at thejazzjampodcast@gmail.com  Website: Click here! Instagram: @thejazzjampodcast Spotify Playlist: Top 3 Playlist This episode may contain copyrighted material, the use of which may not have been authorized by the copyright owner. The material contained in this podcast is distributed without profit for research and educational purposes. This should constitute a 'fair use' of any copyrighted material (referenced and provided for in section 107 of the US Copyright Law).

Brian Bromberg is one heavy-hitting bass player and I am in awe of his talent as one of the few individuals who is equally proficient on electric and upright bass.You might remember our conversation back in 2018 when he released his powerhouse Funk album. Brian's “A Little Driving Music” album is a staple on all our road trips and his Jaco and Jimi Hendrix tribute albums are mind-blowing… and I could go on and on.Now, Brian has taken on the arduous task of producing an album paying tribute to the late, great, Scott LaFaro. He teamed up with pianist Tom Zink and drummer Charles Ruggiero and Brian delivers a commanding performance on upright. The entire album is a masterpiece and a real treat to listen to track after track.Join us as Brian shares the details behind this project and more.This interview first appeared in Bass Musician Magazine in April 2024Go to jazzguitartoday.com and bassmusicianmagazine.com more interviews and lessons.

KURT ROSENWINKEL THE NEXT STEP New York, May 12-June 27, 2000A shifting design, FiltersMark Turner (ts) Kurt Rosenwinkel (g,p-1) Ben Street (b) Jeff Ballard (d) HAMPTON HAWES FOR REAL! Los Angeles, March 17, 1958Hip, Crazeology, Numbers gameHarold Land (ts) Hampton Hawes (p) Scott LaFaro (b) Frank Butler (d) FRANK BUTLER THE STEPPER Los Angeles, November 19, 1977Au privave, Easy living, UrbaneJack Montrose (ts) Dolo Coker (p) Monty Budwig (b) Frank Butler (d) Continue reading Puro Jazz 10 de junio, 2024 at PuroJazz.

KURT ROSENWINKEL THE NEXT STEP New York, May 12-June 27, 2000A shifting design, FiltersMark Turner (ts) Kurt Rosenwinkel (g,p-1) Ben Street (b) Jeff Ballard (d) HAMPTON HAWES FOR REAL! Los Angeles, March 17, 1958Hip, Crazeology, Numbers gameHarold Land (ts) Hampton Hawes (p) Scott LaFaro (b) Frank Butler (d) FRANK BUTLER THE STEPPER Los Angeles, November 19, 1977Au privave, Easy living, UrbaneJack Montrose (ts) Dolo Coker (p) Monty Budwig (b) Frank Butler (d) Continue reading Puro Jazz 10 de junio, 2024 at PuroJazz.

Hay pocos artistas que hayan tenido la habilidad, la capacidad y el talento para cambiar el rumbo de la música. Entre 1959 y 1960 Miles Davis, Bill Evans y John Coltrane y lo hicieron dos veces. Juntos con Kind of Blue y por separado. Coltrane con Giant Steps y Evans con sus Portrait in Jazz.  Ocho meses del monumental Kind Of Blue, Bill Evans volvió a un estudio de grabación junto a al bajista Scott LaFaro y él batería Paul Motian e hicieron un disco mágico en el que cabe todo y que retrata todo.  ¡El pianista reinventó el sonido del trío en el jazz poniendo todos los instrumentos en primer plano y con un peso equitativo, un experimento sonoro que nació sin ensayos y que se basa en el enorme talento de los músicos y en su capacidad de conectar, responder y conectarse al sonido que iban creando. Por desgracia el trío de Evans no duró mucho, poco después de empezar a rodar, en julio de 1961, Scott LaFaro murió prematuramente. A pesar de ello el legado sonoro de estos tres músicos es enorme y figura entre lo más destacado de la apabullante discografía de Bill Evans, protagonista del episodio de esta semana al que invitamos al periodista Fernando Navarro. APÚNTATE AL CANAL DE WHATSAPP DE SOFÁ SONOROEnlace: https://whatsapp.com/channel/0029VaMe1UfH5JM7mh1YQo24

BLUE MITCHELL BOSS HORN Englewood Cliffs, N.J., November 17, 1966Straight up and down (2), I should care (1), Rigor Mortez (1)Blue Mitchell (tp) Julian Priester (tb) Jerry Dodgion (as,fl-1) Junior Cook (ts) Pepper Adams (bar) Cedar Walton (p-1) Chick Corea (p-2)Gene Taylor (b) Mickey Roker (d) VICTOR FELDMAN THE ARRIVAL OF VICTOR FELDMAN Los Angeles, January 21 & 22, 1958Be-bop, Serpent's tooth, Flamingo, Too blueVictor Feldman (vib,p) Scott LaFaro (b) Stan Levey (d) STACY DILLARD GOOD AND BAD MEMORIES Brooklyn, NY, June 1, 2010Pleasant, Over and over, StizzozoStacy Dillard (ts) Orrin Evans (p) Craig Magnano (g) Ryan Berg (b) Jeremy “Bean” Clemons (d) Continue reading Puro Jazz 14 marzo 2024 at PuroJazz.

BLUE MITCHELL BOSS HORN Englewood Cliffs, N.J., November 17, 1966Straight up and down (2), I should care (1), Rigor Mortez (1)Blue Mitchell (tp) Julian Priester (tb) Jerry Dodgion (as,fl-1) Junior Cook (ts) Pepper Adams (bar) Cedar Walton (p-1) Chick Corea (p-2)Gene Taylor (b) Mickey Roker (d) VICTOR FELDMAN THE ARRIVAL OF VICTOR FELDMAN Los Angeles, January 21 & 22, 1958Be-bop, Serpent's tooth, Flamingo, Too blueVictor Feldman (vib,p) Scott LaFaro (b) Stan Levey (d) STACY DILLARD GOOD AND BAD MEMORIES Brooklyn, NY, June 1, 2010Pleasant, Over and over, StizzozoStacy Dillard (ts) Orrin Evans (p) Craig Magnano (g) Ryan Berg (b) Jeremy “Bean” Clemons (d) Continue reading Puro Jazz 14 marzo 2024 at PuroJazz.

Featuring Thelonious Monk's album In Person-live at Town Hall 1959 and live at Blackhawk 1960 and Bill EvansThe Complete Village Vanguard Recordings, 1961 with Scott LaFaro and Paul Motian. With readings from the Paul Motian Archive.Set List: https://jazzcloset.blogspot.com/2016/03/set-list-030416.htmlPhoto: Scott LaFaro, Bill Evans, Paul Motian at the Village Vanguard, NYC 1961 photo: ©Steve Schapiro

En esta Wurli rendimos tributo a uno de los grandes maestros del contrabajo, Scott LaFaro. Falleció a los 25 años en un accidente de tráfico y, pese a todo, sus trabajos con el trío de Bill Evans aun son fuente inagotable de inspiración para los músicos de jazz. Gracias por acompañarnos. Sonarán por aquí: The Pat Moran Trio - Onilisor The Pat Moran - Farewells Victor Feldman Trio - S'Posin Victor Feldman Trio - Satin Doll Hampton Hawes Quartet - Wrap Your Trouble In Dreams Carl Tjader & Stan Getz Sextet - For All We Knows Tony Scott Quartet - Remembrance Of Art Tatum Bill Evans Trio - Witchcraft Scott LaFaro Trio - Sacre Bleu Este programa, como siempre, está dedicado especialmente a: Rafa, Mechimariani, L Ibiricu Traba, Nachoigs, David, Alfonso Ladrón, Yago Llopis, Nacho Ruíz, Javier Carmona, Ana López, El Carabasser, Raúl Espinosa, La Última Frontera Radio, Gustavo, Ruth, Toñi, Cristina Pariente, Carmen Neke, Manuel García, Rebeca Tatiana, Michel y nuestro queridos anónimos. Gracias por apoyar el proyecto y seguir dándonos las herramientas para que CDS crezca a diario. Apoya este proyecto desde 1,49€ al mes. Tan solo tienes que pulsar el botón azul que tienes en la cabecera de este canal Gracias infinitas ya que tu aportación nos permite mejorar cada programa.

Featuring Cool & Blue Records 1992 Release 'The Legendary Bill Evans Trio The 1960 Birdland Sessions" with Scott LaFaro and Paul MotianSet List: https://jazzcloset.blogspot.com/2016/03/set-list-031116.htmlPhoto: Paul Motian 1960 Cape Cod, MA  ©Paul Motian Archive

Chillout Classic w Radiu Spin #36 "Barańczak HiFi" z 14 grudnia. Audycja zainspirowana wierszem Stanisława Barańczaka HiFi. 1. J.S. Bach Aria z Wariacji Golbergowskich także 1, Glen Gould. 2. J.S.Bach Partia nr 1 BWV 825: Prelude, Partia nr 2 BWV 526: Sarabande, Glen Gould. 4. Come Rain or Come Shine - Bill Evans Trio, Scott LaFaro, Paul Motian. 5. J.S.Bach - Partia na lutnie BWV 997, Edoardo Catemario. 6. J.S. Bach Adagio z sonaty na skrzypce solo BWV 1005, Vikingur Olafsson. 7. C.Debussy - Preludium nr 5 Bruyeres, V. Olafsson. 8. J.S.Bach Adagio BWV 974, R. Sakamoto, V. Olafsson. 9. A. Vivaldi - Jesień cz. 2 , Nigel Kennedy, Englich Chamber Orchestra. 10. Jean Michel Jarre - Souvenir de Chine. 11. Sting - Whenever I Say Your Name - Live In Berlin. 12. Khalil Chahine - Sisyphe In Montmarte.

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This week I play tracks from: =Bill Evans classic Sunday At the Village Vanguard. Two compositions by Scott Lafaro. -Jane Bunnett’s first album, In Dew Time—the title referring to the presence of the great tenor saxophonist, Dewey Redman. -Paul Winter Consort. The Icarus album. Ralph Towner’s Sunwheel. -The amazing accordionist, Art Van Damme. -a Wayne…Continue reading Episode 255: Favourites from LP Collection, Part 3

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El influyente pianista Bill Evans nos dejó un 15 de septiembre. Hace 42 años. Le recordamos hoy tocando en solitario ('Make someone happy', 'What kind of fool am I?', 'Emily', 'Spartacus love theme'), en trío con Eddie Gómez y Jack DeJohnette ('I loves you, Porgy', 'Someday my prince will come') y con el trío mítico formado con Scott LaFaro y Paul Motian ('My foolish heart', 'Waltz for Debby'). Pat Metheny y Lyle Mays grabaron a los pocos días de su muerte un sentido 'September fifteenth'. Escuchar audio

Un paseo por bajistas que van agregando color a la paleta del instrumento hasta llegar al gran Scott LaFaro, quien alcanza o ejemplifica una nueva dirección en la expresividad solista del mismo. Red Mitchell, Paul Chambers, Wilbur Ware, Mal Waldron, Niels Pedersen y Jimmy Garrison acuden a esta cita. Erratum: El bajista Sam Jones no es de la misma familia Jones que el baterista Elcin.

Portrait In Jazz Paul Motian, Scott LaFaro, Bill EvansSome well known tunes and some obscure. Readings about Paul Motian remembering Jackie Paris, liner notes from Mr. Counterpoint and more.Set List: https://jazzcloset.blogspot.com/2022/03/portrait-in-jazz.htmlPhoto: Scott LaFaro, Bill Evans & Paul Motian at the Village Vanguard 1960 photographer unknown

“J'aime bien partager la musique, plutôt que de l'imposer. J'ai commencé la contrebasse très jeune, la musique de jazz vers 12 ans. Je n'ai jamais fait que ça de ma vie, j'ai eu des périodes où j'ai accompagné des idoles et voilà, depuis je suis mon chemin.“C'est l'itinéraire de ce titi Jazz que l'on découvre ensemble. Des Batignolles au festival de Newport, Henri Texier nous offre une virée dans les clubs de jazz, sur les scènes des salles les plus prestigieuses, celles où il accompagnera “les idoles” de Chet Baker à Don Cherry, en passant côté français par Sacha Distel et la très politique Colette Magny. Heteroklyte Lockdown, son 28ème album est sorti hier accompagné du livre d'entretiens A cordes et à cris. L'occasion de revivre quelques temps forts de cette vie musicale bien remplie. Tracklist Miles Davis - Milestones Dario Moreno - Quizas, Quizas, Quizas Sidney Bechet - Petite Fleur / Dans Les Rues D'AntibesThelonious Monk - Round About Midnight Meade Lux Lewis - Honky Tonk Train BluesHenri Texier - Quand tout s'arrêteSidney Bechet, Claude Luter et Son Orchestre - Si tu vois ma mèreMiles Davis Quintet - Bye Bye BlackbirdDexter Gordon - Soy CalifaJames Brown - What Kind Of Fool Am I Phil Woods & his European Rhythm MachineMiles Davis feat. John Coltrane, Cannonball Adderley, Red Garland, Paul Chambers, Philly Joe Jones - Straight, No Chaser Henri Texier - Amir / Les Là-bas / Holy générique in B.O Holy LolaCharles Mingus - Goodbye Pork Pie Hat / Better Git Hit in Your Soul Bill Evans, Scott LaFaro, Paul Motian - Blue In Green /Autumn Leaves Henri Texier trio - Round About Midnight / Besame MuchoJulio Iglesias - Besame Mucho Henri Texier trio - Forest Forgive Them Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

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®Il trio di Bill Evans, straordinaria figura di stilista dello strumento che ha dato un impulso decisivo al jazz moderno, ha avuto una notevole serie di “incarnazioni”, da quello con Scott LaFaro e Paul Motian fino all'ultimo con Marc Johnson e Joe LaBarbera.Una edizione che forse non tutti ricordano è quella con Eddie Gomez e Jack DeJohnette, la cui unica registrazione ufficiale fino a poco fa era il live del ‘68 alla seconda edizione del Festival di Montreux, disco che vinse il Grammy.A partire da questo storico disco Claudio Sessa ci presenta in questa serie di “Birdland” altre registrazioni del trio finora inedite che negli ultimi anni la Resonance ha pubblicato (due doppi CD ed un singolo).Prima emissione da lunedì 08 a venerdì 12 marzo 2021

®Il trio di Bill Evans, straordinaria figura di stilista dello strumento che ha dato un impulso decisivo al jazz moderno, ha avuto una notevole serie di “incarnazioni”, da quello con Scott LaFaro e Paul Motian fino all'ultimo con Marc Johnson e Joe LaBarbera.Una edizione che forse non tutti ricordano è quella con Eddie Gomez e Jack DeJohnette, la cui unica registrazione ufficiale fino a poco fa era il live del ‘68 alla seconda edizione del Festival di Montreux, disco che vinse il Grammy.A partire da questo storico disco Claudio Sessa ci presenta in questa serie di “Birdland” altre registrazioni del trio finora inedite che negli ultimi anni la Resonance ha pubblicato (due doppi CD ed un singolo).Prima emissione da lunedì 08 a venerdì 12 marzo 2021

®Il trio di Bill Evans, straordinaria figura di stilista dello strumento che ha dato un impulso decisivo al jazz moderno, ha avuto una notevole serie di “incarnazioni”, da quello con Scott LaFaro e Paul Motian fino all'ultimo con Marc Johnson e Joe LaBarbera.Una edizione che forse non tutti ricordano è quella con Eddie Gomez e Jack DeJohnette, la cui unica registrazione ufficiale fino a poco fa era il live del ‘68 alla seconda edizione del Festival di Montreux, disco che vinse il Grammy.A partire da questo storico disco Claudio Sessa ci presenta in questa serie di “Birdland” altre registrazioni del trio finora inedite che negli ultimi anni la Resonance ha pubblicato (due doppi CD ed un singolo).Prima emissione da lunedì 08 a venerdì 12 marzo 2021

®Il trio di Bill Evans, straordinaria figura di stilista dello strumento che ha dato un impulso decisivo al jazz moderno, ha avuto una notevole serie di “incarnazioni”, da quello con Scott LaFaro e Paul Motian fino all'ultimo con Marc Johnson e Joe LaBarbera.Una edizione che forse non tutti ricordano è quella con Eddie Gomez e Jack DeJohnette, la cui unica registrazione ufficiale fino a poco fa era il live del ‘68 alla seconda edizione del Festival di Montreux, disco che vinse il Grammy.A partire da questo storico disco Claudio Sessa ci presenta in questa serie di “Birdland” altre registrazioni del trio finora inedite che negli ultimi anni la Resonance ha pubblicato (due doppi CD ed un singolo).Prima emissione da lunedì 08 a venerdì 12 marzo 2021

®Il trio di Bill Evans, straordinaria figura di stilista dello strumento che ha dato un impulso decisivo al jazz moderno, ha avuto una notevole serie di “incarnazioni”, da quello con Scott LaFaro e Paul Motian fino all'ultimo con Marc Johnson e Joe LaBarbera.Una edizione che forse non tutti ricordano è quella con Eddie Gomez e Jack DeJohnette, la cui unica registrazione ufficiale fino a poco fa era il live del ‘68 alla seconda edizione del Festival di Montreux, disco che vinse il Grammy.A partire da questo storico disco Claudio Sessa ci presenta in questa serie di “Birdland” altre registrazioni del trio finora inedite che negli ultimi anni la Resonance ha pubblicato (due doppi CD ed un singolo).Prima emissione da lunedì 08 a venerdì 12 marzo 2021

The Hump is honored to welcome our guests this week! Long time string shop owner, luthier, restorer, Barrie Kolstein and Manny Alvarez! Tune in to find out why this episode is called, "Beyond Category!"

Hoy hablamos de Bill Evans, un músico de jazz, un poeta del piano, que supuso una revolución tan apabullante en la música moderna que llega de forma muy clara hasta nuestros días, y cuyo legado es de tal calado que, no solo le vamos a dedicar este programa al completo, sino que le vamos a dedicar también el siguiente, así que la sección Block Chords, de nuestro experto en Jazz de cabecera, Aníbal Martínez, va a tomar Radio Nadie al Volante por completo para poder indagar todo lo que podamos en la vida de este auténtico genio En este primer volumen sobre el pianista nos vamos a centrar en la primera parte de su vida; su juventud, su formación clásica, la llegada a Nueva York, pasando por su paso por la banda de Miles Davis, con el que grabó el mítico disco "Kind of Blue", hasta principios de los años 60 cuando explota su trío junto con el batería Paul Motian y el contrabajista Scott LaFaro. Incluimos en el programa también una sorpresa, ya que en nuestro estudio Nadiel al Volante Records nos hemos permitido grabar una versión del tema de Bill Evans "Peri's Scope" en la que Aníbal Martínez reproduce la línea de piano con su guitarra, Pablo Yupton, nuestro director, reproduce la línea de bajo de Scott LaFaro, e Iñaki Rodríguez reproduce la batería de Paul Motian, y no solo eso, sino que lo unimos en un momento del solo con la canción original grabada por estos tres genios; ya veréis que experimento más curioso, realizado con el afán de sumergirnos todavía más en la obra del pianista. Bill Evans, un poeta del piano que dejaba cada parte de su ser en cada nota que ejecutaba y cuya música salpica cada parte del alma de quien lo escucha.

This week's episode is about the virtuoso bassist Scott LaFaro.  LaFaro lived a brief life, but managed to record some incredible music in his short time on this world.  It features music from his early years, his legendary time in Bill Evans' trio, and some of his more avant-garde endeavors. Questions? Comments? Requests?  E-mail me at wnpmpod@gmail.com

It's been a busy week, so I haven't had time to finish the episode about virtuoso bassist Scott LaFaro that I'm working on.  It will be ready for next week, so in the meantime, enjoy a few tracks that LaFaro appears on.  

Melodic invention- a word developed by another bass player named Putter Smith who defines this as European Swing coupled with African Rhythms. It doesn't really matter where it started because it was sprinkled with Dixieland in the south Harlem Soul in the north Blues in St Louis up the Mississippi Delta to Chicago. This fusing of music included a young farmer from the valleys of California who worked a farm by day and sock hops by night. He became a fixture of San Francisco melodic invention being partially responsible for desegregating the army with his mixed race bands like the guys he grew up with on the farm. His first group included my guest who like Al McKibbon and John Heard The Skipper Henry Franklin, and Scott Lafaro found his way through the European swing by using African Rhythms. His rhythm simpatico was Joe Morello who brought an additional element of 5/4 time and a Dixieland bouncy that further colored this mixed race band. He is the only living member of the classic quartet. After taking five my guest went on to collaborate with Billie Holiday, kenny Drew, Sonny Stitt, Cal Tjader and Monty Alexander. He has written books on bass and played the supper club circuit of upstate New York, he has toured the world bringing melodic invention to India and Japan and South America. --- Support this podcast: https://anchor.fm/jake-feinberg/support

Hace 40 años que se fue el pianista Bill Evans. Le dedicamos nuestros elefantes de este 15 de septiembre escuchándole en grabaciones en trío de contrabajo y batería con Eddie Gómez y Jack DeJohnette ('I loves you, Porgy'), con Gómez y Eliot Zigmund ('A house is not a home', 'Orson´s theme', 'You must believe in spring', 'B minor waltz', 'We will meet again') y con el legendario que formó a finales de los cincuenta principios de los sesenta con Scott LaFaro y Paul Motian ('Waltz for Debby', 'Someday my prince will come', 'Blue in green'). Y, en el Festival de Jazz de Montreux, a dúo con el contrabajista Eddie Gómez tocando 'But beautiful' y 'Minha'. Escuchar audio

The San Francisco sound is more about a state of mind. One of independence, curiosity and experimentation. Psychedelics played a role but make no mistake it was a pleathearu of mavericks who made that SF Sound. Guys who were looking to stir things up with late night jam sessions @ the Matrix. Loose open ended affairs with cats who played @ the Heliport and West Marin. A 12 minute space funk jam with Bill Vitt flashing a style he cultivated @ Dave's soul kitchen and John Kahn a Bloomfield favorite who grew up wanting to be Scott Lafaro. There was also a guitarist named Jerry Garcia who was well schooled in bluegrass and psych rock but was a curious cat who desired to stretch his vocabulary. Garcia openly acknowledges that my guest did more for his ears then anyone else he came across. My guest today is a keyboardist and Hammond Organ extrodinare who came from the Midwest and firmly laid his flag in that SF scene. Before heading west he honed his chops working the southern RnB circuit working with Ronnie Hawkins, Little Anthony and the Imperials James Brown and Jimmy Hendrix. Upon arriving in the Bay Area he formed his own band known as AB Skye and found studio work with the Grateful Dead, Martin Fierro and Harvey Mandel. He also has laid claim to several albums under his own name such as Rendevoux with the Sun and The Monk in the Mansion. It's been a long time coming Howard Wales welcome to the JFS. Happy New Year! --- Support this podcast: https://anchor.fm/jake-feinberg/support

Nuevo podcast de Terrasonora, el primer trío de Bill Evans nacía en 1960. Tras dos discos, Evans, Scott LaFaro al contrabajo y Paul Motian a la batería, se citarían en el Village Vanguard para realizar dos semanas de actuaciones. El jefe de Riverside, Orrin Keepnews decidiría grabar la última jornada de actuaciones y el resultado es historia de la música. Un repertorio capitalizado por el espíritu de lo aprendido junto a Miles Davis, con ese concepto de belleza lírica, modal y deudora del conocimiento de los compositores europeos, hizo que este trío, efímero por la fatalidad, marcara el devenir de este tipo de formaciones. De aquí en adelante cada trío de piano tendría que ser comparado con lo que el de Providence dejó aquí grabado. Gracias por la escucha. Playlist: Waltz for Debby Aeolian drinkin’ song On green dolphin street The Jittburg Waltz Someday my prince will come Gloria’s steps My man’s gone now / Porgy Solar Alice in wonderland Jade Visions All of you Milestones Detour Ahead Some other time

Nuevo podcast de Terrasonora, el primer trío de Bill Evans nacía en 1960. Tras dos discos, Evans, Scott LaFaro al contrabajo y Paul Motian a la batería, se citarían en el Village Vanguard para realizar dos semanas de actuaciones. El jefe de Riverside, Orrin Keepnews decidiría grabar la última jornada de actuaciones y el resultado es historia de la música. Un repertorio capitalizado por el espíritu de lo aprendido junto a Miles Davis, con ese concepto de belleza lírica, modal y deudora del conocimiento de los compositores europeos, hizo que este trío, efímero por la fatalidad, marcara el devenir de este tipo de formaciones. De aquí en adelante cada trío de piano tendría que ser comparado con lo que el de Providence dejó aquí grabado. Gracias por la escucha. Playlist: Waltz for Debby Aeolian drinkin’ song On green dolphin street The Jittburg Waltz Someday my prince will come Gloria’s steps My man’s gone now / Porgy Solar Alice in wonderland Jade Visions All of you Milestones Detour Ahead Some other time

Playlist: Hampton Hawes, featuring Harold Land, Scott Lafaro & Frank Butler - For RealAimee-Jo Benoit - One More ColourArt Hirahara - G-YokosoRachel Therrien - PigalleTony Allen + Hugh Masekela - Slow BonesNina Simone - Alone Again NaturallyErnesto Cervini, featuring Nir Felder - Softly, As in a Morning Sunrisedumama + kechou - umziIngrid Jensen & Steve Treseler - Old Time (Live)Allison Miller's Boom Tic Boom - Congratulations and CondolencesBeat Bronco Organ Trio - Beat BroncoShabaka & The Ancestors - The Coming of the Strange OnesHannah Williams & The Affirmations - 50 Foot Woman

Con Carlos López I Queremos seguir redescubriendo grandes discos de la historia de este género y para ello no vamos a esperar más, porque el eje central de nuestro programa de hoy girará en torno a la obra sublime que firmó Bill Evans junto a Scott LaFaro y Paul Motion. “Retrato en Jazz” constituyó la primera grabación de un trío sin fisuras, de un conjunto de músicos que sonaban como una gran unidad. Un trío con piano que estableció las bases y abrió el sendero por el que el resto de músicos que vendrían después tomarían. Un disco que, si aún no lo conoces, hará que comiences a tener otra visión de esta música. Si por el contrario ya está en tu colección física o digital, hoy volverá a ser un gran momento para volver a escucharlo. ¡El mejor Jazz en Clásica FM!

Con Carlos López I Queremos seguir redescubriendo grandes discos de la historia de este género y para ello no vamos a esperar más, porque el eje central de nuestro programa de hoy girará en torno a la obra sublime que firmó Bill Evans junto a Scott LaFaro y Paul Motion. “Retrato en Jazz” constituyó la primera grabación de un trío sin fisuras, de un conjunto de músicos que sonaban como una gran unidad. Un trío con piano que estableció las bases y abrió el sendero por el que el resto de músicos que vendrían después tomarían. Un disco que, si aún no lo conoces, hará que comiences a tener otra visión de esta música. Si por el contrario ya está en tu colección física o digital, hoy volverá a ser un gran momento para volver a escucharlo. ¡El mejor Jazz en Clásica FM!

Con Carlos López I Queremos seguir redescubriendo grandes discos de la historia de este género y para ello no vamos a esperar más, porque el eje central de nuestro programa de hoy girará en torno a la obra sublime que firmó Bill Evans junto a Scott LaFaro y Paul Motion. “Retrato en Jazz” constituyó la primera grabación de un trío sin fisuras, de un conjunto de músicos que sonaban como una gran unidad. Un trío con piano que estableció las bases y abrió el sendero por el que el resto de músicos que vendrían después tomarían. Un disco que, si aún no lo conoces, hará que comiences a tener otra visión de esta música. Si por el contrario ya está en tu colección física o digital, hoy volverá a ser un gran momento para volver a escucharlo. ¡El mejor Jazz en Clásica FM!

I have a very, very special guest that I'm so excited to introduce, Angela Levey, who is the wife of the late great jazz drummer, Stan Levey! We talk about how they met, their wonderful marriage, knowing some of the great jazz legends personally, Stan living and playing with Charlie Parker for a long time, Angela chasing Charlie Parker out of a club, being close with Dizzy Gillespie, recording his first record with Art Tatum, being friends with Max Roach, getting into trouble because of Sonny Stitt, Stan's amazing speed and many more amazing stories. ----- 1:43 Talking about Dr. Joseph Curiale 2:16 How did you meet Stan? 5:50 Being hired at Birdland 6:28 Were you there at the very beginning of Birdland? 7:12 On Bud Powell on being a very snappy dresser 7:56 Did you get to talk to Bud Powell much? 9:47 On chasing Charlie Parker out of Birdland 11:23 More on Charlie Parker 12:33 Stan Levey is the only person who owed money to Charlie Parker 14:23 How long did you work at Birdland before the Sonny Stitt incident? 15:48 The Sonny Stitt snitching incident 16:39 Were your parents discouraging you from seeing Stan? 18:39 On going to jail actually helping Stan quit drugs 19:19 Talking about Dizzy Gillespie and how close they were 21:19 Dizzy Gillespie encouraging Stan to go back some money and leave the band 22:03 On the strange Benny Goodman experience 23:06 Stan being a boxer 24:12 Benny Goodman calling Stan again to perform like nothing happened after decades of no contact 25:07 Stan's difficult life but stoic attitude to adversity 27:02 Stan's first recording date being with Art Tatum 27:31 Did Stan recall that date? 29:02 On Stan being the person who's played the most jam sessions with Charlie Parker 30:07 Dizzy giving Stan an endorsement to work for Oscar Pettiford 30:50 Stan's friendship with Max Roach 31:41 How did Stan play so fast? 32:47 Victor Feldman's recording of Bebop with Scott Lafaro and Stan 33:17 Recording “For Musician's only” 34:02 On meeting Sonny Stitt again, post-jail 34:41 Did Stan's clean life influence the musicians around him? 36:20 On Stan's positive attitude towards family 38:31 How does Stan teach himself to learn so many things? 39:32 How long was Stan when he taught himself to sight read? 39:52 Stan reinventing himself as a studio musician in the west coast 40:48 On the amazing trajectory of Stan's career 41:05 Who were Stan's heroes? 42:39 The other side of Stan that was “ADD” 45:18 The redemption story of Stan's life 46:22 Did Stan want his kids to learn music? 47:53 How does it feel to know that thousands of people are so fascinated with that period, that you lived in? 49:05 What albums should people listen to that demonstrate Stan's playing? 50:28 Dizzy Gillespie complimenting Stan's time keeping 50:56 Wrapping Up

Victor Feldman was one of the finest musicians that Great Britain ever produced. Victor was born in London on April 7, 1934 and was only 53 when he died in L.A. on May 12,1987 from an asthma attack. Victor was a child prodigy and began playing drums at age 7, piano at age 9 and vibes at age 14. He moved to the US in 1955 and returned to London for a while after touring with Woody Herman and others. He returned to LA and settled there and began working not only in Jazz but in the studios for movies and TV as well. His Jazz gigs led to this album his first US recording under his name. Victor is accompanied by 21 year old Scott LaFaro who makes his recording debut here. The great Stan Levey is on drums. The album called "The Arrival of Victor Feldman" explores 10 tunes, mostly standards and a few Feldman originals. It's a fun and very pleasant listen. Nothing revolutionary here but good solid Jazz played by three master musicians. Enjoy Victor Feldman and Co. tonight!

Con la morte in un tragico incidente del contrabbassista Scott LaFaro, nel '61 si chiude la magica esperienza del trio di Bill Evans con LaFaro e con Paul Motian alla batteria: per il pianista è un colpo durissimo, artisticamente e umanamente. Una nuova felice stagione del trio di Bill Evans si apre nel '66, quando Evans scopre un giovane bassista portoricano, Eddie Gomez, che sarebbe rimasto per undici anni accanto al pianista. Per un certo periodo il trio fu completato alla batteria da un altro giovane portento, Jack DeJohnette (è DeJohnette che figura nel live a Montreux del '68): la maggiore estroversione di Gomez e DeJohnette rispetto ad altri che li avevano preceduti al basso e alla batteria conferisce una maggiore estroversione all'insieme della musica del trio di Evans, apprezzata dal pubblico e dalla critica. Poi nell'autunno del '68 DeJohnette lascia per nuove avventure - sarà con Miles Davis nella svolta elettrica del trombettista - e viene rimpiazzato da Marty Morell, e anche con lui rimane questa maggiore estroversione, lo slancio, la freschezza giovanile che sentiamo anche a Pescara nel '69...Come bonus della puntata un brano della Big Band di Gil Cuppini registrato all'Universal Club di Marina di Carrara nell'estate del '68. Con il batterista la crème del jazz italiano dell'epoca: fra gli altri Soana, Valdambrini, Piana, Masetti, Basso, Volonté, Azzolini....

Con la morte in un tragico incidente del contrabbassista Scott LaFaro, nel '61 si chiude la magica esperienza del trio di Bill Evans con LaFaro e con Paul Motian alla batteria: per il pianista è un colpo durissimo, artisticamente e umanamente. Una nuova felice stagione del trio di Bill Evans si apre nel '66, quando Evans scopre un giovane bassista portoricano, Eddie Gomez, che sarebbe rimasto per undici anni accanto al pianista. Per un certo periodo il trio fu completato alla batteria da un altro giovane portento, Jack DeJohnette (è DeJohnette che figura nel live a Montreux del '68): la maggiore estroversione di Gomez e DeJohnette rispetto ad altri che li avevano preceduti al basso e alla batteria conferisce una maggiore estroversione all'insieme della musica del trio di Evans, apprezzata dal pubblico e dalla critica. Poi nell'autunno del '68 DeJohnette lascia per nuove avventure - sarà con Miles Davis nella svolta elettrica del trombettista - e viene rimpiazzato da Marty Morell, e anche con lui rimane questa maggiore estroversione, lo slancio, la freschezza giovanile che sentiamo anche a Pescara nel '69...Come bonus della puntata un brano della Big Band di Gil Cuppini registrato all'Universal Club di Marina di Carrara nell'estate del '68. Con il batterista la crème del jazz italiano dell'epoca: fra gli altri Soana, Valdambrini, Piana, Masetti, Basso, Volonté, Azzolini....

El guitarrista Ralph Towner sigue activo y creativo a sus 77 años y lanza "My foolish heart", disco a solo de temas propios y la versión del standard que lo titula, con el que rinde tributo a la versión del trío de Bill Evans, con Scott LaFaro y Paul Motian, que tanto le inspiró. En esta edición de 'Club de Jazz' rendimos un sencillo homenaje al vibrafonista Gary Burton, que se retira, y lo hacemos escuchándole precisamente junto a Ralph Towner en una grabación de 1975, "Matchbook". "La duda y el permamente" de Ferran Esteve nos acerca un adelanto del próximo disco de la Large Unit del baterista Paal Nilssen-Love, incluida en sus "Selected Tracks 2013-2017". Völga es el nombre de un cuarteto de improvisadores de la escena barcelonesa compuesto por Fernando Carrasco (guitarra), Àlex Reviriego (contrabajo), Iván González (trompeta) y Vasco Trilla (percusión). El contrabajista Renaud García-Fons toma el título de la novela "La vie devant soi", Premio Goncourt en 1975, para su nuevo trabajo junto a David Venitucci (acordeón) y Stephan Caracci (vibráfono). Los "Ritmos Latinos" de Anxo encuentran las influencias anglosajonas en dos grupos españoles: los gallegos The Soul Jacket y los castellanos Los Hermanos Cubero. "desde mi cadiera" Jesús Moreno presenta "Couleur de l'exil", trabajo a dúo de Sylvain Guérineau (saxo tenor) y Kent Carter (contrabajo). Toda la información y derechos: http://www.elclubdejazz.com

El guitarrista Ralph Towner sigue activo y creativo a sus 77 años y lanza "My foolish heart", disco a solo de temas propios y la versión del standard que lo titula, con el que rinde tributo a la versión del trío de Bill Evans, con Scott LaFaro y Paul Motian, que tanto le inspiró. En esta edición de 'Club de Jazz' rendimos un sencillo homenaje al vibrafonista Gary Burton, que se retira, y lo hacemos escuchándole precisamente junto a Ralph Towner en una grabación de 1975, "Matchbook". "La duda y el permamente" de Ferran Esteve nos acerca un adelanto del próximo disco de la Large Unit del baterista Paal Nilssen-Love, incluida en sus "Selected Tracks 2013-2017". Völga es el nombre de un cuarteto de improvisadores de la escena barcelonesa compuesto por Fernando Carrasco (guitarra), Àlex Reviriego (contrabajo), Iván González (trompeta) y Vasco Trilla (percusión). El contrabajista Renaud García-Fons toma el título de la novela "La vie devant soi", Premio Goncourt en 1975, para su nuevo trabajo junto a David Venitucci (acordeón) y Stephan Caracci (vibráfono). Los "Ritmos Latinos" de Anxo encuentran las influencias anglosajonas en dos grupos españoles: los gallegos The Soul Jacket y los castellanos Los Hermanos Cubero. "desde mi cadiera" Jesús Moreno presenta "Couleur de l'exil", trabajo a dúo de Sylvain Guérineau (saxo tenor) y Kent Carter (contrabajo). Toda la información y derechos: http://www.elclubdejazz.com

In the latest edition of Jazz Beat, Tom Reney explores the legacy of the bassist Scott LaFaro, who was a leading innovator in modern jazz and a member of the Bill Evans Trio. LaFaro was tragically killed in an auto accident in 1961 at age 25, and he’s the subject of an outstanding biography by his sister Helene LaFaro-Fernandez. Tom’s appreciation of LaFaro includes numerous samples of his music.

Every year, in early April, Geneva celebrates the legacy of Scott LaFaro. The jazz bassist grew up in Geneva and the car crash that brought a tragic end to his short life happened just outside the city. For some perspective on Scott LaFaro, we talk to David Brent Johnson, jazz director at WFIU public radio in Bloomington and musician Gap Mangione. Music in the Key of Geneva is a production of the Geneva Historical Society, Kerry Lippincott Executive Director. John Marks is our executive producer. Kelly Walker is our host and producer. Music in the Key of Geneva is supported by a grant from the New York Council for the Humanities. Any views, findings, conclusions or recommendations expressed in this podcast do not necessarily represent those of the National Endowment for the Humanities.

Tonight's Jazz Feature is possibly the final recording by virtuoso bassist Gary Peacock. Mr Peacock has been at the forefront of this music for many years and has explored many avenues of this music. He is perhaps best known for his work with Keith Jarrett, Jack DeJohnette in that magical and profound trio. Peacock has ventured out on his own as leader a few times and this album will be perhaps his final statement as he is now due to age and hearing loss retired from active playing. This thoughtful and introspective recording was done in July of 2014 and features the piano of Marc Copland and the drums of Joey Baron. 7 of the eleven compositions are by Peacock and he is a marvelous composer. Copland wrote two and Baron, one. Peacock honours his contemporary and late friend bassist Scott LaFaro with a version of LaFaro's "Gloria's Step". All in al this album is a wonderful way to wind up a stellar career........"Now This" will be memorable.

Dr. Vernick explores the career of jazz bassist Scott LaFaro who is known for revolutionizing the role of his instrument. The 4th and final segment documents the engagement that he played with the Bill Evans Trio at the Village Vanguard within two weeks of his untimely death in a car accident. Rather than showcase LaFaro's individual performance, Gordon emphasizes the musical interaction that occues between the group as a whole since he feels that is what made this night particularly notable and memorable.

Dr. Vernick explores the career of jazz bassist Scott LaFaro who is known for revolutionizing the role of his instrument. In the year 1960, LaFaro's playing received wide acclaim on the unconventional version of jazz standard Autumn Leaves which he covered with the Bill Evans Trio. It was in this year that he also contributed to Ornette Coleman's Free Jazz album which, for better or worse, would greatly influence the course of jazz history.

Dr. Vernick explores the career of jazz bassist Scott LaFaro who is known for revolutionizing the role of his instrument. The second segment Gordon presents examples of LaFaro's work with bands both big and small leading up to the group he formed with Ornette Coleman and Eric Dolphy which helped launch the free jazz movement.

Dr. Vernick explores the career of jazz bassist Scott LaFaro who is known for revolutionizing the role of his instrument. The first segment is devoted to his early work prior to joining the Bill Evans Trio and becoming a young star of the jazz scene.

Killed in a car accident aged just 25, Scott LaFaro was widely regarded as the most technically gifted bassist of the 20th Century. His records with Bill Evans are among the finest jazz trio discs ever made. Bassist Dave Green joins Alyn Shipton to pick the highlights of these, and to trace the other significant records in LaFaro's brief but brilliant career.

Tonight's Jazz feature is a wonderful recording that was meant for private use. It was recorded by Dave Quarin, a great Vancouver saxophonist who also ran one of Vancouver's finest Jazz clubs: The Cellar. The original Cellar was in existence from 1955 to 1963 and run as a co-operative venture by musicians and artists. The staff was volunteer and only the musicians were paid. Local players were featured and at times the club brought in name players. Such was the case with our Jazz Feature. The great tenor saxophonist, Harold Land took over a wonderful band that had just backed up Sonny Rollins for two weeks in San Francisco and brought them to Vancouver in November 1958. The music was some of the best Jazz that I ever heard as I was there in Nov. 1958....I had just moved to Vancouver and was still in High School but I witnessed the music for three of the four nights they were here. The music was a powerful and distant memory until the tapes of several tunes made the rounds of musicians and eventually ended up at Lonehill Records where all the tunes were collated on a single 80 minute CD with some of the profits of the sales going to the Harold Land Estate. The music is powerful and strong and all of these men are at their creative peak: Harold Land, the leader on tenor saxophone, the legendary Elmo Hope on piano, Scott LaFaro on bass, who eventually made history with Bill Evans and the fine dynamic drumming of Lennie McBrowne complete this incredible quartet. Only two long tunes will make up a complete set: the standard, 'Just Friends' and the Charlie Parker blues called 'Big Foot' plus a short version of the band's theme, Dameron's 'The Scene is Clean'. Powerful music from a legendary band at a now legendary club.

Pianist Ahmad Jamal is one of the major stylists and this trio with the underrated Israel Crosby on bass and Vernel Fournier on drums was one of Jamal's finest organizations. None other than Miles Davis loved Jamal and insisted that all of his pianists, Red Garland, Wynton Kelly, Herbie Hancock etc. listen to Jamal and learn about dynamics and the use of space from Ahmad. Israel Crosby was to Jamal what Scott LaFaro was to Bill Evans and although Crosby died young in 1962, people such as Ron Carter consider Crosby to be a major figure on the accoustic bass. Vernel Fournier brought taste and swing and that great "New Orleans" feel to Jamal's trio. Jamal's music is accessible and melodic and although some critics dismissed Jamal as a 'lightweight' they missed the whole point of Jamal's unique style which combined virtuosity, space and dynamics. Jamal, to this day is considered a genius by many and is still touring the world and delivering his musical message.

This was pianist Bill Evans' first recording with what was to be his quintessential trio with Scott LaFaro on bass and Paul Motian on drums. Standards are the basic bill of fare here as they had only played a few gigs and were dealing with the 'standard' repertoir. A few Evans' originals make their appearance here as well. A fine debut of an exceptional, one of a kind trio.