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| The Complete Whitey Mitchell Sessions |
| Steve Lacy |
első megjelenés éve: 2004
62 perc |
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| (2011)
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CD |
| 3.796 Ft
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| 1. | It Could Happen to You
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| 2. | Lover Man
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| 3. | Strike Up the Band
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| 4. | I Let a Song Go Out of My Heart
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| 5. | Once in a While
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| 6. | Young Lesley
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| 7. | You Stepped Out of a Dream
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| 8. | Over the Rainbow
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| 9. | Perdido
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| 10. | Why Don't You Take Up the Piccolo?
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| 11. | Rosetta
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| 12. | Gee Baby, Ain't I Good to You
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| 13. | Out of Nowhere
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| 14. | My Heart Is a Hobo
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| 15. | Fidgety Feet
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| 16. | Potatoes
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| 17. | Let's Get Lost
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| 18. | Spain
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| 19. | The Things I Love
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| 20. | Some of These Days
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Jazz / Cool, Post-Bop, Progressive Jazz
Steve Lacy - Sax (Soprano), Author
Al Levitt Drums
Bill Bradley, Jr. Drums
Dave McKenna Piano
Don Stratton Trumpet
Herbie Mann Flute (Alto), Sax (Tenor)
Joe Puma Guitar
Neal Hefti Arranger
Osie Johnson Drums
Tom Stewart Horn (Tenor)
Whitey Mitchell Bass
Never Previously Released on CD !
2 LP on 1 CD (see Lp covers on the left)
For a most complete Steve Lacy Early Years CD, see FSRCD 364.
This particular release features two rare 1956 studio sessions of Steve Lacy during the early stages of his legendary career. The Personnel in both sessions it is very similar in a Sextet or Quintet format featuring Lacy himself on soprano sax plus Whitey Mitchell on bass, Joe Puma on guitar and Tom Stewart on tenor horn, with Osie Johnson or Al Levitt on drums and Dave McKenna on piano or Herbie Mann on flute and tenor sax.
The arrangements are by Neal Hefti on the first session.
This import exclusive remastered reissue features two rare 1956 sessions of Steve Lacy during the early stages of his legendary career.
Digitally Remastered Double Set on CD for the First Time. Considered the first modern soprano saxophonist, Steve Lacy propelled the instrument from classic Dixieland romps to the cutting edge of avant-garde jazz and back again. He is also One of a Handful of Saxophonists to Truly Master the Soprano and to Establish a Unique Voice on the Instrument, Along with Sidney Bechet, John Coltrane, Wayne Shorter and Dave Liebman. This Particular Release features Two Rare 1956 Sessions of Steve Lacy During the Early Stages of his Legendary Career. The Dates Comprise the Inimitable Saxophonist's Complete Discography with Bassist Whitey Mitchell and Tenor Horn Innovator Tom Stewart. The Release also features Such Fine Musicians as Herbie Mann, Don Stratton, Joe Puma, Dave Mckenna and Osie Johnson.
"Lacy went on to influence every soprano player thereafter. His music has always been very personal and looking for new ways to put things together."
- Lee Konitz
Although this compilation was issued in 2004 under soprano saxophonist Steve Lacy's name, the two original records which make up this Lone Hill Jazz CD were separate dates issued under the leadership of bassist Whitey Mitchell (brother of bassist Red Mitchell) and tenor horn player Tom Stewart by ABC-Paramount. The first ten selections come from Mitchell's sessions, with snappy arrangements of standards contributed by Neal Hefti. The sextet also includes Stewart, trumpeter Don Stratton, guitarist Joe Puma, and drummer Osie Johnson. The leader's bass has a prominent role, though there's plenty of solo space for Lacy, Stratton, and Stewart, too. Although Hefti was primarily arranging standards on this date, he leans more toward cool jazz rather than the swing style associated with his writing for Count Basie. Highlights include the breezy "Strike Up the Band" (with a few nice drum breaks by Johnson), the easygoing "I Let a Song Go out of My Heart," and the beautifully voiced "You Stepped Out of a Dream." The Stewart sessions feature three separate dates with slightly different personnel. On the first six tracks, pianist Dave McKenna and drummer Al Levitt join Stewart, Lacy, and Mitchell. Stewart is the dominant soloist (whose instrument could be easily mistaken for a trombone by a novice jazz fan), though Lacy's imaginative flights are remarkable for such a young musician, especially since the soprano sax was not yet popular among up-and-coming jazz artists during the mid-'50s. The songs include a mixture of traditional jazz, standards, and obscure works. The breezy "Rosetta," the little known "My Heart Is a Hobo," and a rather brief "Let's Get Lost" (the latter omitting McKenna and adding Herbie Mann on tenor sax) are among the high points. Due to the rarity of the original LPs, picking up a copy of this CD is a far cheaper alternative, though the sloppy song credits contain several errors and omissions. ~ Ken Dryden, All Music Guide
Steve Lacy
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Jul 23, 1934 in New York, NY
Died: Jun 04, 2004 in Boston, MA
Genre: Jazz
Styles: Dixieland, Modern Creative, Post-Bop, Hard Bop, Early Creative, Free Jazz, Progressive Jazz, Avant-Garde Jazz
One of the great soprano saxophonists of all time (ranking up there with Sidney Bechet and John Coltrane), Steve Lacy's career was fascinating to watch develop. He originally doubled on clarinet and soprano (dropping the former by the mid-'50s), inspired by Bechet, and played Dixieland in New York with Rex Stewart, Cecil Scott, Red Allen, and other older musicians during 1952-1955. He debuted on record in a modernized Dixieland format with Dick Sutton in 1954. However, Lacy soon jumped over several styles to play free jazz with Cecil Taylor during 1955-1957. They recorded together and performed at the 1957 Newport Jazz Festival. Lacy recorded with Gil Evans in 1957 (they would work together on an irregular basis into the 1980s), was with Thelonious Monk's quintet in 1960 for four months, and then formed a quartet with Roswell Rudd (1961-1964) that exclusively played Monk's music; only one live set (for Emanen in 1963) resulted from that very interesting group.
Lacy, who is considered the first "modern" musician to specialize on soprano (an instrument that was completely neglected during the bop era), began to turn toward avant-garde jazz in 1965. He had a quartet with Enrico Rava that spent eight months in South America. After a year back in New York, he permanently moved to Europe in 1967 with three years in Italy preceding a move to Paris. Lacy's music evolved from free form to improvising off of his scalar originals. By 1977 he had a regular group with whom he continued to perform throughout his career, featuring Steve Potts on alto and soprano, Lacy's wife, violinist/singer Irene Aebi, bassist Kent Carter (later succeeded by Jean-Jacques Avenel), and drummer Oliver Johnson; pianist Bobby Few joined the group in the 1980s. Lacy, who also worked on special projects with Gil Evans, Mal Waldron, and Misha Mengelberg, among others, and in situations ranging from solo soprano concerts, many Monk tributes, big bands, and setting poetry to music, recorded a countless number of sessions for almost as many labels, with Sands appearing on Tzakik in 1998 and Cry on SoulNote in 1999. His early dates (1957-1961) were for Prestige, New Jazz, and Candid and later on he appeared most notably on sessions for Hat Art, Black SaintSoul Note, and Novus. Lacy, who had been suffering with cancer for several years, passed away in June of 2004. His legacy continues to grow, however, as various live shows from throughout his career are issued.
---Scott Yanow, All Music Guide |
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