Scott LaFaro born 3 April 1936

Rocco Scott LaFaro (April 3, 1936 – July 6, 1961) was an American jazz double bassist known for his work with the Bill Evans Trio. LaFaro broke new ground on the instrument, developing a countermelodic style of accompaniment rather than playing traditional walking basslines, as well as virtuosity that was practically unmatched by any of his contemporaries. Despite his short career and death at the age of 25, he remains one of the most influential jazz bassists, and was ranked number 16 on Bass Player magazine's top 100 bass players of all time.

LaFaro was born in Newark, New Jersey, the son of a big band musician. He was five when his family moved to Geneva, New York. He started playing piano in elementary school, bass clarinet in middle school, and tenor saxophone when he entered high school. He took up double bass at 18 before entering college because learning a string instrument was required of music education majors. After three months at Ithaca College, he concentrated on double bass. He played in groups at the College Spa and Joe's Restaurant on State Street in downtown Ithaca.

Beginning in 1955, he was a member of the Buddy Morrow big band. He left that organization to work in Los Angeles. LaFaro spent most of his days practicing his instrument. He practiced from sheet music for the higher-pitched clarinet to improve his facility with the upper register for bass. Fellow bassist Red Mitchell taught him how to pluck strings with both the index and middle fingers independently. He joined Chet Baker' group (1956-7). For much of 1958, LaFaro was with pianist/vibraphonist Victor Feldman's band, also recording with Hampton Hawes.

                        Here's "Onilosor" from above album.

                                  

LaFaro started his professional career playing a German-made Mittenwald double bass, but it was stolen in the spring of 1958.Shortly after, he acquired a bass made in 1825 in Concord, New Hampshire, by Abraham Prescott. The top of the instrument is a three-piece plate of slab-cut fir; the back is a two-piece plate of moderately flamed maple with an ebony inlay at the center joint; the sides are made of matching maple. It has rolled corners on the bottom and very sloped shoulders on the top, making it easier to get in and out of thumb position. LaFaro continued to play this bass until his death.

Bill Evans said of LaFaro's Prescott bass: "It had a marvellous sustaining and resonating quality. He would be playing in the hotel room and hit a quadruple stop that was a harmonious sound, and then set the bass on its side and it seemed the sound just rang and rang for so long."

After playing briefly in Chicago with Ira Sullivan he accompanied Sonny Rollins and Harold Land in San Fransisco, then with Barney Kessel and played in a group at the Lighthouse Café in Hermosa Beach, California. In 1959, after working with bandleader Stan Kenton, vibraphonist Cal Tjader, and clarinettist Benny Goodman, LaFaro returned east and joined Bill Evans, who had recently left the Miles Davis Sextet. 

With Evans and drummer Paul Motian he developed the counter-melodic style that would come to characterize his playing. Evans, LaFaro, and Motian were committed to the idea of three equal voices in the trio, working together for a singular musical idea and often without any musician explicitly keeping time. By late 1960, LaFaro was in demand as a bassist.

1961 was LaFaro's busiest year, juggling the projects of Getz, Evans, and Ornette. He replaced Charlie Haden as Ornette Coleman's bassist in January 1961. For a time, Haden and LaFaro shared an apartment. He also played in Stan Getz's band between jobs with the Bill Evans trio. Around this time, he received a greeting card from Miles Davis that suggested Davis wanted to hire him. In June 1961, the Bill Evans trio began two weeks of performances at the Village Vanguard in New York City. The trio attracted attention for its style. The last day was recorded for two albums, Sunday at the Village Vanguard and Waltz for Debby, which are considered among the finest live jazz recordings.

On July 3, he played Newport with Stan Getz; it would be the final performance of Scott LaFaro. On July 5 he visited his mother in Geneva, and stayed until it was very late. He was invited to spend the night, but said no; he had to get back to New York. In the early hours of July 6, Frank Ottley and Scott LaFaro died when Scott’s car left the road, hit a tree, and caught fire. This happened in Seneca, New York, on U.S. Route 20 between Geneva and Canandaigua. According to Paul Motian, the death of LaFaro left Bill Evans "numb with grief," "in a state of shock," and "like a ghost." Obsessively, he played "I Loves You, Porgy," a tune that had become synonymous with him and LaFaro. Evans stopped performing for several months.

Evans said that LaFaro had been "one of the most, if not the most outstanding talents in jazz." Legendary bassist Ray Brown added, "This was one of the most talented youngsters I've seen come up in a long time. For his age, he really had it covered. ... It's a shame, really a shame. It's going to set the instrument back ten years." Motian noted, "We were supposed to make a record date as the Miles Davis Trio, it was all set up, and then Scott got killed and the whole thing got forgotten."LaFaro's departure was sudden, violent, and unexpected, but his influence had already begun, and its spell would hold sway over jazz bassists for decades to come.

In 2008, Bill Evans's final bassist, Marc Johnson, played LaFaro's restored bass on an Evans tribute album recorded by Johnson's wife, Eliane Elias, titled Something for You: Eliane Elias Sings & Plays Bill Evans. On March 5, 2014, the City Council of Geneva, New York approved making April 3 Scott LaFaro Day. On April 4, 2014, a ceremony to rename a downtown street Scott LaFaro Drive took place.

(Edited from Wikipedia, Jazz Improv Magazine & New Grove Dictionary of Jazz)