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| Live at Jazzwerkstatt Peitz [ ÉLŐ ] |
| Steve Lacy |
| első megjelenés éve: 2007 |
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CD |
| 6.393 Ft
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| 1. | Eronel/Epistrophy
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| 2. | Reflections
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| 3. | Gallup's Galop
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| 4. | Bone
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| 5. | Wickets
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| 6. | Coastline
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| 7. | Follies
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Jazz
Recorded live on 21 February 1981 at Jazzwerkstatt Peitz, Germany
Steve Lacy - soprano saxophone solo
Somebody once asked Steve Lacy: 'Steve, please explain in ten seconds what's the difference between composition and improvisation.' Lacy's answer: 'You have all the time you need for ten seconds of composition. For ten seconds of improvisation you have - well, exactly ten seconds.' Some of Steve Lacy's philosophical aphorisms about music: 'My whole life is centered on the soprano saxophone. It is my axis and my medium. The soprano covers the entire high range, the whole right hand of the piano. To control that field is quite a challenge.' 'I wouldn't call it influencing. I believe that I was much more inspired by Coltrane than he was inspired by me. The only influencing that took place was me showing him what that instrument is capable of.' 'Weight, rhythm, swing, proportion, timing, joy, humour, but also his descriptive power - that's what fascinates me about Monk's music. What's more, his music perfectly fits my instrument. It was something like model music for me. At that time, I couldn't really get the hang of composing, so I needed something to play on that horn until I'd find my own music - and that was Monk's music.' 'Every soprano player looks up to Steve Lacy,' Wayne Shorter once said. And we know that Wayne was taught by John Coltrane, who made the jazzy soprano saxophone popular in 1960. The soprano, however, was only Trane's secondary instrument. Steve Lacy was the first important musician to dedicate almost his entire life to the soprano sax. Even the great Sidney Bechet - together with Hawkins the progenitor of all saxophonists - played the clarinet in addition to the soprano. Above all, Lacy is an improvising musician. Most of his compositions are short and include even shorter phrases which he'll combine, repeat and modify. When he sets a poem to music, he applies his isometric variation technique by adjusting his tone pitch to the melody and rhythm of the original text. Lacy always kept searching for other forms of artistic expression like dancing, painting and especially poetry: he created musical versions of texts by authors like Robert Creeley, Gregory Corso, or Lao Tzu. Lacy set new standards in one of his most important forms of expression: unaccompanied solo play. After he had been awarded MacArthur Fellowship in 1992, Lacy stuffed all his knowledge about the soprano saxophone into his book Findings. In 2002 he accepted a teaching post at the New England Conservatory and went back to America. Steve Lacy died on 4 June 2004. He was one of the most important and innovative improvisational musicians to ever leave this planet.
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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