The second volume of Steve Lacy's solo soprano saxophone concerts, starting off with the three short versions of Billy Strayhorn tunes which opened his first solo concert at Avignon in 1972.
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75 minutes - all previously unissued.
Catalog ID: 5031
Squidco Product Code: 18774
Country: Great Britain
Packaging: Cardstock 3 page foldover
Recorded on various dates at various locations.
Steve Lacy-soprano saxophone
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• Show Bio for Steve Lacy
"Steve Lacy (July 23, 1934 - June 4, 2004), born Steven Norman Lackritz in New York City, was a jazz saxophonist and composer recognized as one of the important players of soprano saxophone. Coming to prominence in the 1950s as a progressive dixieland musician, Lacy went on to a long and prolific career. He worked extensively in experimental jazz and to a lesser extent in free improvisation, but Lacy's music was typically melodic and tightly-structured. Lacy also became a highly distinctive composer, with compositions often built out of little more than a single questioning phrase, repeated several times.
The music of Thelonious Monk became a permanent part of Lacy's repertoire after a stint in the pianist's band, with Monk's songs appearing on virtually every Lacy album and concert program; Lacy often partnered with trombonist Roswell Rudd in exploring Monk's work. Beyond Monk, Lacy performed the work of jazz composers such as Charles Mingus, Duke Ellington and Herbie Nichols; unlike many jazz musicians he rarely played standard popular or show tunes.
Lacy began his career at sixteen playing Dixieland music with much older musicians such as Henry "Red" Allen, Pee Wee Russell, George "Pops" Foster and Zutty Singleton and then with Kansas City jazz players like Buck Clayton, Dicky Wells, and Jimmy Rushing. He then became involved with the avant-garde, performing on Jazz Advance (1956), the debut album of Cecil Taylor,:55 and appearing with Taylor's groundbreaking quartet at the 1957 Newport Jazz Festival; he also made a notable appearance on an early Gil Evans album. His most enduring relationship, however, was with the music of Thelonious Monk: he recorded the first album to feature only Monk compositions (Reflections, Prestige, 1958) and briefly played in Monk's band in 1960:241 and later on Monk's Big Band and Quartet in Concert album (Columbia, 1963).
Lacy's first visit to Europe came in 1965, with a visit to Copenhagen in the company of Kenny Drew; he went to Italy and formed a quartet with Italian trumpeter Enrico Rava and the South African musicians Johnny Dyani and Louis Moholo (their visit to Buenos Aires is documented on The Forest and the Zoo, ESP, 1967). After a brief return to New York, he returned to Italy, then in 1970 moved to Paris, where he lived until the last two years of his life. He became a widely respected figure on the European jazz scene, though he remained less well known in the U.S.
The core of Lacy's activities from the 1970s to the 1990s was his sextet: his wife, singer/violinist Irene Aebi,:272 soprano/alto saxophonist Steve Potts, pianist Bobby Few, bassist Jean-Jacques Avenel, and drummer Oliver Johnson (later John Betsch). Sometimes this group was scaled up to a large ensemble (e.g. Vespers, Soul Note, 1993, which added Ricky Ford on tenor sax and Tom Varner on French horn), sometimes pared down to a quartet, trio, or even a two-saxophone duo. He played duos with pianist Eric Watson. Lacy also, beginning in the 1970s, became a specialist in solo saxophone; he ranks with Sonny Rollins, Anthony Braxton, Evan Parker, and Lol Coxhill in the development of this demanding form of improvisation.
Lacy was interested in all the arts: the visual arts and poetry in particular became important sources for him. Collaborating with painters and dancers in multimedia projects, he made musical settings of his favourite writers: Robert Creeley, Samuel Beckett, Tom Raworth, Taslima Nasrin, Herman Melville, Brion Gysin and other Beat writers, including settings for the Tao Te Ching and haiku poetry. As Creeley noted in the Poetry Project Newsletter, "There's no way simply to make clear how particular Steve Lacy was to poets or how much he can now teach them by fact of his own practice and example. No one was ever more generous or perceptive."
In 1992, he was the recipient of a MacArthur Fellowship (nicknamed the "genius grant").
He also collaborated with a wide range of musicians, from traditional jazz to the avant-garde to contemporary classical music. Outside of his regular sextet, his most regular collaborator was pianist Mal Waldron,:244-245 with whom he recorded a number of duet albums (notably Sempre Amore, a collection of Ellington/Strayhorn material, Soul Note, 1987).
Lacy played his 'farewell concerts to Europe' in Belgium, in duo and solo, for a small but motivated public. This happened in Brussels, Antwerp, Ghent, Bruge and Bergen. This recollection is published by Naked Music. In Ghent he played with the classical violinist Mikhail Bezverkhni, winner of Queen Elisabeth Concours. He returned to the United States in 2002, where he began teaching at the New England Conservatory of Music in Boston, Massachusetts. One of his last public performances was in front of 25,000 people at the close of a peace rally on Boston Common in March 2003, shortly before the US-led invasion of Iraq.
After Lacy was diagnosed with cancer in August 2003, he continued playing and teaching until weeks before his death on June 4, 2004 at the age of 69."-Wikipedia (https://en.wikipedia.org/wiki/Steve_Lacy)
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1. Johnny Come Lately 2:45
2. Lush Life 3:07
3. Ummg 2:04
4. Moms 5:34
5. Pops 5:01
6. The Dumps 4:13
7. Slabs 5:44
8. The Wool 5:57
9. Torments 8:37
10. Moma Duck 6:18
11. Coastline 6:18
12. Hooky 8:14
13. Snips 11:18
sample the album:
"More highlights from solo soprano saxophone concerts, starting off with the three short versions of Billy Strayhorn tunes which opened his first solo concert (Avignon 1972). Excellent versions of "Moms", "Pops" and "The Dumps" were performed two years later at the same venue. A 1975 Paris concert resulted in the only known recording of "Slabs", a second recording of "The Wool", and definitive performances of "Torments" and "The New Duck". From Edmonton in 1976 comes an unusual performance of "Coastline", and a fine one of the rarity "Hooky". In conclusion, there is a definitive 1977 version of "Snips" from Koln."-EmanemSee also Avignon and After - Volume 1
75 minutes - all previously unissued.
Solo Artist Recordings
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