You see, before Diana there was...
Samuel Chell | Kenosha,, WI United States | 09/29/2009
(5 out of 5 stars)
"Actually, there were Terri Pollard, Pat Moran (now Patti McCoy), and Alice McCleod (later Alice Coltrane), all of whom served as pianists in vibist Terry Gibbs' quartets (but not at the same time). Pat leaned a little bit more toward the joyous swinging lines of Terri Pollard than to the more legato, harmonically sophisticated Alice), but all three met with ready approval from a jazz community that tended to be suspicious of women pianists (especially if they didn't come from England or Japan). "This Is Pat Moran" also had the distinction of being recorded on Audio Fidelity, noted for putting the best hi fi systems to the ultimate test. But--sorry to report--that particular session did not include Scott LaFaro on bass, even though the obscure bassist on this date is plenty solid and extremely well recorded.
It's the other 50% of this latest gift from Spain (the home of Fresh Sounds records) that presents Pat with Scottie on bass. To hear Scottie on any of the pre-Bill Evans' sessions is a rare experience, even revelatory. Doesn't matter if he solos--his walking 4/4 bass lines are a sheer source of admiration and delight for his time (the man knew a groove!), his note choices (he constructs lines like the builder of a Frank Lloyd Wright foundation), and the sound of the bass (give Scottie much of the credit, but don't assume he'd sound that good on some other popular jazz labels of the day). It was while listening to a pile of Blue Note recordings that I happened to put some sides recorded on Contemporary by Roy DuNan on my turntable and couldn't believe the difference. Try it yourself. Look for Scott LaFaro on Lester Koenig's Contemporary label, where he was a member of rhythm sections supporting Hampton Hawes and Victor Feldman among others. You'll be thinking something like, "I didn't know a recording could capture the sound of the double bass so clearly, so richly, so realistically, and with such definition and detail." It's deep, ringing, clear, personal--nothing at all like the bass as recorded on Blue Note, Prestige, as well as many Impulse and even Verve dates.
I had been blaming my equipment, but your cartridge, or headphones, or speakers can do only so much in reproducing sound that is not merely "recorded" but "constructed" by the recording engineer, who is the "extra musician" if not the authentic "auteur" of the representation you will hear. If you want to hear a piano that sounds like a Steinway, or a bass that sounds like the original instrument, look for those recordings originally on Contemporary or, in this case, Audio Fidelity. If another incentive is required, not the least of this collection's attractions is the cool (not cold) singing of Bev Kelly.
Pat, Scottie, and Bev--you can't go wrong. But if you think you did, please sell your CD at a price I can't refuse. I need an excuse to replace my vinyl copies."
Track Listings (20) - Disc #1