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| 5.061 Ft
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| 1. | Brass & Oak
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| 2. | Naisiai
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| 3. | Yo' Dance
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| 4. | No VT
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| 5. | Levels
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| 6. | Montana Grass Song
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| 7. | Cloth
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| 8. | Broken in Paris
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| 9. | Pure Improv
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Jazz / Modern Free, Post-Bop, Avant-Garde Jazz, Jazz Instrument, Saxophone Jazz
Chris Drukker Graphic Design
Gene Lake Group Member, Drums
Mary Redhouse Vocals, Group Member, Flute, Native American Flute
Oliver Lake Illustrations, Spoken Word, Sax (Alto), Producer, Audio Production, Group Member, Sax (Soprano)
Peter Karl Mixing, Mastering
Richard Franklin Audio Production
Santi Debriano Group Member, Bass (Acoustic)
It's been two years since Oliver Lake's last proper studio album, and this live set was recorded before that. This version of Oliver Lake's quartet included Native American flutist, poet, and vocalist Mary Redhouse, bassist Santi Debriano, and drummer Gene Lake. The music ranges from angular post-bop -- "Brass & Oak" -- to haunting Native American chants such as "Naisai," with aboriginal rhythms played by Gene, and spacious yet restrained free playing by the others. There are seriously angular workouts as well, such as "Yo' Dance" where Oliver blows and is responded to by the wood flute and Redhouse's gone vocalizing. "Montana Grass Song" is an authentic powwow song, completely reinvented by the band while respecting its traditional framework before making it a scattish/improv swing tune. The title track, from 2003's Cloth, is given a tough quartet reading as well. And it sizzles. Oliver's soloing here is particularly wonderful, but it's the rhythm section that keeps it all popping. Ultimately, this is a good date, but it's outside much of the jazz frame a lot of the time. It will appeal to Oliver Lake's hardcore fan base but it's the wrong recording to introduce to a novice. ~ Thom Jurek, All Music Guide
Oliver Lake
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Sep 14, 1942 in Marianna, AR
Genre: Jazz
Styles: Free Jazz, Avant-Garde Jazz, Jazz Instrument, Saxophone Jazz
Oliver Lake is an explosively unpredictable soloist, somewhat akin to Eric Dolphy in the ultra-nimble manner in which he traverses the full range of his main horn, the alto. Lake's astringent saxophone sound is his trademark -- piercing, bluesy, and biting in the manner of a Maceo Parker, it was a perfect lead voice for the World Saxophone Quartet, the band with which Lake has arguably made his most enduring music.
Lake began playing drums as a child in St. Louis. He first picked up the saxophone at the age of 18. Lake received his bachelor's degree in 1968 from Lincoln University. From the late '60s to the early '70s he taught school, played in various contexts around St. Louis, and led -- along with Julius Hemphill and Charles "Bobo" Shaw, among others -- a musicians' collective, the Black Artists' Group (BAG). Lake lived in Paris from 1972-1974, where he worked in a quintet comprised of fellow BAG members. By 1975, he had (along with most of his BAG colleagues) moved to New York, where he became active on what was called by some the "loft jazz" scene. In 1976, with Hemphill, Hamiet Bluiett, and David Murray, he founded the World Saxophone Quartet. Over the next two decades, that band reached a level of popularity perhaps unprecedented by a free jazz ensemble. Its late-'80s albums of Ellington works and R&B tunes attracted an audience that otherwise might never have found its way to such an esoteric style.
Lake continued working as a leader apart from the WSQ, making excellent small-group albums in the '70s and '80s for Arista/Freedom and Black Saint. In the '80s, Lake led a reggae-oriented band, Jump Up, that had a significant degree of pop success, though its artistic appeal faded in comparison with his jazz work. In the '90s, Lake continued to stretch creatively; a duo album with classically trained pianist Donal Fox set him free to explore the more fanciful side of his musical personality. Late-'90s concerts with the WSQ, his own groups, and such duo mates as the hyper-dextrous pianist Borah Bergman showed that Lake was still on top of his game.
The saxophonist continued performing and recording as both a leader and collaborator into the 21st century, forming Trio 3 with bassist Reggie Workman and drummer Andrew Cyrille (releasing such albums as 2002's Open Ideas on Palmetto and 2008's Berne Concert [in collaboration with pianist Irène Schweizer] and 2009's At This Time [in collaboration with Geri Allen] on Intakt); recording with the String Trio of New York (2005's Frozen Ropes on Barking Hoop); and issuing such recordings as Cloth by the Oliver Lake Big Band in 2003, Oliver Lake Quartet Live (featuring Dine' [Navaho tribe] vocalist and flutist Mary Redhouse) in 2006, and Makin' It by the Oliver Lake Organ Trio in 2008 (the latter three Lake-led sessions released by the Passin' Thru label).
---Chris Kelsey, All Music Guide |
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