The second "Lacy Pool" directed by pianist Uwe Oberg and with drummer Michael Griener the common element, invites Rudi Mahall on clarinets as they interpret, or as Oberg describes it, "unlock" the music of Steve Lacy, in 9 compositions including "Trickles", "Cliches", "Ladies", &c., plus two Oberg compositions that fit into his pool of Lacy interpretations.
Label: Leo Records Catalog ID: LEO 792 Squidco Product Code: 27755
Format: CD Condition: New Released: 2017 Country: UK Packaging: Jewel Case Recorded at Klangraum, in Mainz, Germany, on March 17th, 2016, by Matthias Kruger.
"Lacy Pool is a small group of musicians whom Uwe Oberg picks to unlock Steve Lacy's compositions. Why no bass? Uwe Oberg: "That never was a question. I wanted the band to function unlike a jazz quartet and it should not have a soprano sax. Now Lacy's pieces were mine and ours, and it got easier and easier, everything fell into place. The clarity, the repeating motifs, the collage approach, the deconstruction, the flow. What fun!"-Uwe Oberg, from the liner notes
"Pianist Uwe Oberg didn't follow a straight and narrow path when putting together this formidable European trio. There is no bassist, and Rudi Mahall performs solely on clarinets, as most listeners would expect a soprano saxophone to be the mainstay of any band that pays homage to the late, modern-era jazz pioneer Steve Lacy. More importantly, the band, including drummer Michael Griener, mold Lacy's works into their signature group-focused voice, yet duly adhere to his core rhythmic and melodic fundamentals, used as vehicles for expansion amid the ever-present improvisational metrics.
The instrumentalists effectively reimagine these works that span a multitude of emotive implications, framed on Thelonious Monk's strong influence on Lacy's compositional pen and so on. These pieces abide by the trio's freedom of communications mantra, yet they also enact a delicate balance that pays off. Whether the band is generating quaint or daintily renditions of the material or partaking in some serious rebel-rousing, each piece stands on its own.
Teeming with counterpoint, reverse-engineering processes and coyly articulated diversions, Mahall and Oberg can mirror a typical Lacy phrase but largely inject their own musical nomenclature into the big picture. So, they veer off, reinvent, then circle back around to execute the primary themes with tight-knit unison phrasings, intense soloing jaunts and even dish out a walking blues motif on "Blues for Aida." The artists spin "Ladies" with razor-sharp unison choruses, amped by Uwe's harmonics, segueing into "Jazz ab 40" where the artists mix it up, accentuated by Griener's broadly textured cymbals hits and the pianist's massive block chords. Hence, the primary focus is hot n' heavy improv.
The final track "Troubles" offers yet another compelling perspective, as the band merges a blithe unison groove with linear movements and nods to old-timey jazz, topped off by Mahall's wily solo spot. Overall, the musicians exercise an often difficult to attain balance as serious chops, pungent arrangements and sonorous melodic content produce an irrefutable fun-factor, instilled with all the necessary ingredients."-Glenn Astarita