Calo Scott was a Cuban-American jazz cellist. Scott is noted for being one of earliest known jazz cellists. He established himself in the 1950s through working with the saxophonist Gerry Mulligan when “having a cello player as an improvising member of a jazz group was then virtually unheard of.” In addition to Gerry Mulligan, Calo Scott worked with Ahmed Abdul-Malik, Gato Barbieri, Marc Levin, and John Handy among others. He was also active in New York City's Lower East Side intermedia-arts scene, working with artists such as dancer-choreographer Mary McKay, artist Aldo Tambellini, and filmmaker Cassandra Einstein.
Early Life and career
Calo Scott was born in Camaguey, Cuba, and moved to the USA when he was two-years old. He began studies on piano, chose to focus his studies on the saxophone in his teens, and started working as a professional musician with a US Army band in the 1949. In the early 1950s he was diagnosed with a rheumatic heart condition and subsequently switched to cello. His peers and critics later commented that his early work with the saxophone heavily informed his signature phrasings on the cello. He studied at the Third StreetSettlement House. He began working as a freelance musician in New York City in the mid 1950s, where he frequently performed at Five Spot, Dom, and Village Gate, as well as at Carnegie Hall. Between 1957-1974 he had participated in 23 recording sessions. His most acclaimed recordings include his solos in the track "Don't Blame Me" on The Music of Ahmed Abdul-Malik, and his contributions to Gato Barbieri Quartet's In Search Of The Mystery. Calo Scott was widely known for his unique habit of playing the cello while standing, which one can see in performance photos ; Portraits of the artist suggest that he supported the cello’s weight with the assistance of wearing a saxophone-neck strap. Steve Lacy described Calo Scott in an interview as "A very good cellist. He was a great cellist and he used to pluck the cello like a bass. He sounded like Jimmy Blanton really. It was amazing. He died young. This was the first guy I ever heard playing the cello like that. It was for dancing." Lorenzo Thomas on Calo Scott “The day John Handy III came to town, he was featured on television. But if you were down you had a chance to meet him at the Dom on St. Marks Place, the truly happening place those days on New York’s Lower East Side. Everyone was excited by the advance word; and, when it hit, the new LP from Columbia Records delivered a knockout punch. / It was Sunday afternoon and in the Dom’s cool, dark basement lounge Handy and cellist Calo Scott sat up on the bar and played some thoughtful, beautiful music. Intricate and soulful. These were artists with total mastery of their instruments… They stopped just in time for everybody in the place, a couple dozen folk, to help John watch himself on TV. It was a family affair.” Norris Jones AKA Sirone on Calo Scott, during ESP recording: “Calo was an incredible cellist. I did not know this until later but I heard that he had played saxophone and had some health problems—I don’t know how true it is—and this is why he switched over to cello. But the concept of the way he would go with cello, it was like he was playing a horn. His phrasing was completely taken in a different direction from the cello. For two string players, we were very much accompanying one another. We were never in each other’s way. And when we made the individual contribution, the contribution was made towards the whole.” Calo Scott frequently collaborated with his partner, the dancer-choreographer Mary McKay. Additionally, he collaborated with the performance artist Aldo Tambellini: in two performances of Aldo Tambellini's performance “Moondial” in 1966. Calo Scott also performed independently with Aldo Tambellini to create sound for “Black Zero” in 1968. Calo Scott also collaborated with the filmmaker Cassandra Gerstein: he provided the soundtrack for her filmKali and was featured in the portrait film Undine.
Later life
Around 1973, after suffering a stroke, Calo Scott retired from performing and recording, and moved with his partner Mary McKay to Middlesex, VT, where they both lived out the rest of their lives.
