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Jazz / Avant-Garde, Post-Bop, Free Jazz, Avant-Garde Jazz
Steve Lacy - Sax (Soprano), Liner Notes
Steve Lacy Quartet
Gennaro Carone Engineer, Mastering
Giancarlo Barigozzi Engineer
Giovanni Bonandrini Producer
Jean-Jacques Avenel Bass
John Betsch Drums
Maria Bonandrini Cover Art
Paolo Falascone Assistant Engineer
Pino Ninfa Photography
Steve Potts Sax (Soprano), Sax (Alto)
In this album's liner notes, Lacy explains that his quartet began as a streamlined version of his sextet, designed to play venues that can't afford the larger band. It certainly became much more than that; it might be posited that the quartet is the more conventionally jazz-like of the two bands. With vocalist/cellist Irene Aebi and pianist Bobby Few added, Lacy's tunes take on a bit more classical, "new music" air. The quartet, however, is a more rough-and-ready outfit, with the interplay between Lacy and fellow saxophonist Steve Potts taking on more importance. The two play extraordinarily well together. Lacy is a much more suave player than Potts, whose work has a sort of awkward, ungainly air, but whose playing is as devoid of contrivance as any improviser one could name. Bassist Jean-Jacques Avenel is a fine, hard-swinging, unfussy player with a clean technique, and drummer John Betsch is the tasteful, energetic, well-rounded percussionist Lacy's music requires. The band is refined in the best sense -- the tunes are intricate, the execution clean -- yet capable of generating great force. Intensity is a given, even in the quietest, most introspective sections. Much was made in the early '90s (when this record was made) of the jazz tradition. This music is a fine example of what happens when a visionary musician makes something extending and expanding upon the tradition his life's work. An excellent disc. ~ Chris Kelsey, 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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