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| Live at Dreher Paris 1981, Round Midnight Vol. 1 (2CD) [ ÉLŐ ] |
| Steve Lacy & Mal Waldron |
első megjelenés éve: 1996
117 perc |
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| (1996)
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2 x CD |
Kérjen
árajánlatot! |
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| 1. CD tartalma: |
| 1. | Let's Call This
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| 2. | Round Midnight
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| 3. | No Baby
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| 4. | Herbe de l'Oubli
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| 5. | Snake Out
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| 2. CD tartalma: |
| 1. | Round Midnight
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| 2. | Deep Endeavors
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| 3. | A Case of Plus 4's
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| 4. | The Seagulls of Kristiansund
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| 5. | Snake Out
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Jazz
Recorded: Dreher, Paris
Disc 1: Tracks 1-2: August 10, 1981
Disc 1: Tracks 3-5: August 13, 1981
Disc 2: Track 1: August 13, 1981
Disc 2: Tracks 2-5: August 14, 1981
Steve Lacy: soprano
Mal Waldron: piano
Note: Disc 2 (1,2) appear on LET'S CALL THIS (1986), and (3,5) on SNAKE OUT
(1982)
Total time: 56:00 + 60:28 min.
Jean-Marc Foussat Engineer
Lee Jeske Liner Notes
Peter Pfister Mixing, Mastering
Pia Uehlinger Producer
Werner X. Uehlinger Producer
This first volume of the now legendary Lacy/Waldron duets in the '80s is a double CD, and so is the second. There are also at least two studio recordings from Paris issued by RCA/Bluebird from the same time period and two other live Lacy/Waldron duets on Hat. Are these cats just good pals who like to play together? This is, of course, only partially true and these recordings are the evidence. This pair thinks -- at least musically -- with a likemindedness that is uncanny. Whether Lacy and Waldron are approaching the work of Thelonious Monk -- whose compositions they chose to start their sets with here -- or their own works, the emphasis on stating melodic ideas in tandem with harmonic invention is prominent. In the swinging aspect of these duets there is braininess, and likewise in the deeper improvisations there is a tendency to root for melodic invention to provide balance. And that's what is achieved in these glorious sides: balance. Like the Tao, neither man approaches music to be anything other than what it is: the organization of sound, perfect conceptually, and with the proper chops and surrender to the muse, perfect musically. This is evidenced best in the two very different readings here of Monk's "'Round Midnight," one from each man's point of departure in terms of taking apart melody and mode until what is left are painterly, emotional clusters of timbres that still hold the composer's intentions in the forefront -- though the tune has been extended and redesigned exponentially. When Lacy moves the entire structure up and octave and Waldron plays both harmony and rhythm, the inner beauty of Monk's character -- and what he heard in Gershwin and Harold Arlen songs -- becomes evident. In Waldron's "Snake Out," an exercise written particularly for this duet, the counterpoint gets knottier and gnarled and still comes out swinging. The listening is on the intense side, and neither man speaks with anything but a respectful economy -- these guys play only what the music calls for, and no more. Waldron's soloing here reflects his kinship with Herbie Nichols: He is a technician in the best sense of the word and possesses a deep lyricism that informs his every key strike. His subtlety is breathtaking. Frank O'Hara wrote in the poem -The Day Lady Died that "Mal Waldron whispered across the keyboard," and he does no matter what he's playing. This calls Lacy in from his outer reaches and brings his own sense of melodic genius to the fore. And both men have deep commitments to the jazz root-bed: blues. Entwined on two Monk tunes, two by Lacy, and six by Waldron (there are two versions of "Snake Out" here as well), Lacy and Waldron display what so few duets in jazz history have been able to conjure: true synchronicity. This is a wonderfully gratifying set; one only wishes she or he could have been there. ~ Thom Jurek, All Music Guide
The equality, the almost perfect balance in complement and contrast, of the musical collaboration between Steve Lacy and Mal Waldron was palpable in both its internal and external workings … These four CDs, captured live in Paris in 1981, are notable as the first documentation of their performances as a duo, a particularly felicitous exploration of common interests and uncommon talents, initiating an intermittent series of duo recordings that would span thirteen years, varying repertoire, and several labels, but never venture far from the groundwork that was established here.
---Art Lange
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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