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| 1. | Kinda' Up
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| 2. | Land of the Freaks
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| 3. | Cloth
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| 4. | Yes You Broke
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| 5. | Le Sport Suite
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| 6. | Goodbye Pork Pie Hat
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| 7. | Socket
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| 8. | Lonnie's Lament
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| 9. | Brooke Rap
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Jazz / Jazz Instrument, Saxophone Jazz
Billy Szawlowski Mastering, Editing
Jim West Executive Producer
John Rosenburg Engineer, Engineer
Lyndon Achee Drums (Steel)
Oliver Lake Sax (Alto), Producer
Pheeroan akLaff Drums
Reggie Washington Bass
Richard Franklin Producer
Lake presents his Steel Quartet with partner Lyndon Achee on the pan drums; the sound of his alto saxophone meshes and congeals in interesting ways. The harmonic overtones of both instruments offer a different kind of sonic stance that delivers constant conflict and resolution. Lake's signature salty, tart alto is present and accounted for throughout, with occasional outbursts into the upper stratosphere. Electric bass guitarist Reggie Washington and drummer Pheeroan AkLaff lay out a mostly rhythm and blues backdrop. You'd think that this band would naturally get into Caribbean modes, and they come into that realm with the happy calypso, "Yes You Broke." with a cage-rattling steel pan solo. A kinetic melody settles into samba on the title cut, with AkLaff bashing, flamming, and playing the melody line on his solo. The drummer is an expert rhythm navigator, whether playing a straight march beat under two static themes plyed by Lake and Achee on "Cloth," or eschewing direct funk in a more implied style over the jaunty, jumpin' unison melody of the Sonny Simmons piece, "Land of the Freaks." The best swinger of the date is "Le Sport Suite" where sections of melody in eight and six, or 7/4 time coalesce. There's a steady, funky take on the Charles Mingus evergreen "Goodbye Pork Pie Hat," while a special arrangement of John Coltrane's "Lonnie's Lament" starts typically meditational, then goes into a heavily funkified, stretched ostinato bridge as a springboard for jamming, and Lake's solo signifies mightily. Yeah! There's also a black bottom funk on the shorty "Socket," while "Brooke Rap" has a solid funk base, sharp stacatto melody, and "what if?" rap, proffering "what if you were happy every day?" and had everything you wanted or needed. Fans of Lake will like this recording, and the unique approach may turn new folks on to his music. ~ Michael G. Nastos, 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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