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| 5.961 Ft
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| 1. | Day Dream
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| 2. | Alone Together
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| 3. | Work
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| 4. | Rockin&
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| 5. | Easy To Love
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| 6. | Little Girl, Your Daddy Is Calling You
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| 7. | Hornin&
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| 8. | Skippy
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| 9. | Reflections
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| 10. | Four In One
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| 11. | Bye-ya
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| 12. | Ask Me Now
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| 13. | Let&
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Jazz
2 LP on 1 CD
Tracks #1-6 from the 12" LP "Soprano Sax" (Prestige 7125)
Recorded at Rudy Van Gelder Studio in Hackensack, New Jersey, on November 1, 1957
Steve Lacy (ss), Wynton Kelly (p), Buell Neidlinger (b) and Dennis Charles (d)
Tracks #7-13 from the 12" LP "Reflections: Steve Lacy Plays Thelonious Monk" (New Jazz 8206)
Recorded at Rudy Van Gelder Studio in Hackensack, New Jersey, on October 17, 1958
Steve Lacy (ss), Mal Waldron (p), Buell Neidlinger (b) and Elvin Jones (d)
The initial impact of hearing modern blowing on a soprano sax was somewhat like that of discovering an unfamiliar instrument in contemporary jazz. With Steve Lacy, the Bechet vibrato was smoothed to a sound more in keeping with the new trends in jazz. It was his own conception. He stood alone as a developing voice on a somewhat limited instrument.
On these early quartet recordings, he is backed by two first-rate rhythm sections, featuring the great Wynton Kelly on Soprano Sax, and the succinct, punching Mal Waldron on Reflections, an enthusiastic tribute to Thelonious Monk’s compositions. Lacy, who was fascinated by the pianist's music, said, “Monk’s harmony comes from the melody. If you just play from the harmony, you're missing something. Monk has got his own poetry and you’ve got to get the fragrance of it.” These sides showed that, besides Monk, he had also been listening to Sonny Rollins, John Coltrane, and Miles Davis.
"This was the first of three recordings soprano saxophonist Steve Lacy made for Prestige and this 11/1/57 session was his first as a leader. There was a controlled tension to this date, like everybody's trying to play, carefully, to a common goal. It's almost as if someone were present to make sure everybody stayed within obvious perimeters."
---Bob Rusch -Cadence
"All of soprano saxophonist Steve Lacy's early recordings are quite fascinating, for during 1957-1964, aspects of his style at times hinted at Dixieland, swing, Monk, and Cecil Taylor, sometimes at the same time. For this CD reissue, Lacy teams up with pianist Mal Waldron, bassist Buell Neidlinger, and drummer Elvin Jones for seven Thelonious Monk compositions. The typical standbys (such as "'Round Midnight," "Straight No Chaser," and "Blue Monk") are avoided in favor of more complex works such as "Four in One," "Bye-Ya," and "Skippy"; the sweet ballad "Ask Me Now" is a highpoint. Lacy always had an affinity for Monk's music and, even nearly 40 years later, this set is a delight."
---Scott Yanow -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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