Steve Lacy: 'Five Facings' FMP CD 85
featuring: Steve Lacy: soprano saxophone + Marilyn Crispell,
Misha Mengelberg, Ulrich Gumpert, Fred Van Hove and Vladimir
Miller: piano recorded Berlin, April 4-8, 1996
What a delight this album is! This one stands tall amongst the recent
crop of recorded outings by the guardian of the soprano sax. Lacy's on
familiar turf here, caught up in a very fine set of duo interactions
with five of his chosen piano partners across the years.
Recorded live at the annual Free Music Workshop in Berlin where Lacy
has recently taken up residence (after a decades-long stint in Paris),
"Five Facings" appears as a dynamic and fresh-faced summing up of
Lacy's many musical ports of call and particularly covers the range of
possibilities he has developed on the straight horn. Time and time
again I'm struck by the level of purity in Lacy's music, the dry yet
malleable tone and the precise and unhurried nature of his improvising.
He is a musician who has long known that the journey holds greater
significance and discovery than the destination.
So here's Lacy with five sympathetic partners on a series of eight
selections taken from five concerts, offering an intimate view into
his musical preoccupations: four original pieces, 'The Crust',
'Blues For Aida' (with Crispell), 'Art' (with Gumpert) and
'The Wane' (with Miller), three selections from the catalogue of his
beloved Monk, 'Off Minor', 'Ruby My Dear' and 'Evidence'
(with Mengelberg) and one long free improvisation (with Van Hove).
Together they form a kind of cobbled suite which unfolds into
a constantly changing fabric, united by Lacy's singular vision and
unfailingly consistent creativity. The pieces with Crispell invite
us in with warmth and a happy innocence on 'The Crust', while
'Blues For Aida' is a deceptively simple melodic line that aches
with yearning, illustrated beautifully in Lacy's intensely lonely
solo. The Monk pieces with Mengelberg are sheer brilliance as both
players have thoroughly researched the repertoire by constant
immersion in these pieces. The duo with Gumpert brings Lacy out of
the melancholy theme and into a more extended version of the piece.
There are some exquisitely carved moments of poise and resolve as
both players craft moving and forceful solos. Van Hove and Lacy have
both played free improvisation long enough to naturally be able to
second-guess where the other is going. Utilising a huge range of
effects on their respective instruments, the two players unfold a
complex maze of impressions over the twenty-one minutes of
'Twenty One'. To end this wonderfully rich and varied venture,
Lacy and Miller play through 'The Wane', with its eerily
descending glissandi. At the close of this piece you realise that
you've journied far and wide with an exceptional musician, a
genius, no less. "Five Facings" remains an invaluable addition to
Lacy's great collection of recordings, a highly appealing and
enjoyable album which should be played many times. Go forth and
acquire!
Available exclusively through BIRDLAND, 3 Barrack St. Sydney 2000
ph: 9299 8527
E-Mail: [email protected] Web: http://www.birdland.com.au
Reviewed by Matt Krieg
Source: Adelaide Jazz Reviews
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Steve Lacy Quartet : 'Revenue' Soul Note 121234-2
This man is a pioneer. He's possessed of one of the most exquisite
soprano saxophone voices ever created. He's researched the instrument,
he's played it inside and out, (literally!) and he's consistently cooked
up great jazz music in many styles over his long life in music. Whenever
he's playing, you just know it's Steve Lacy. So here is the man with the
straight horn, serving up yet another excellent album to his eager fans,
featuring the Quartet with whom he's played for many years.
Lacy and fellow saxophonist Steve Potts (alto and soprano) form the core
of the band, with Lacy's dry and concise utterances a direct contrast to
Potts' blues-drenched wail. Bassist Jean-Jacques-Avenel and drummer John
Betsch are the cohesive and solid rhythm section. Together, the Quartet
sails with clarity and invention through seven of Lacy's themes, whose
titles have presented an insight into his personal encyclopedia of
mentors, heroes and influences. 'Esteem' is one of his older pieces, a
portrait of Johnny Hodges, and its' unusual octave-hopping introduction
signals a very personal tribute. 'Gospel' is a blues shout for Stevie
Wonder and 'The Uh Uh Uh' was written in response to the passing of
Jimi Hendrix. Lacy's influences are too numerous to mention. He
celebrates the lives and work of poets and writers, too. In fact,
Lacy's life has taken on proportions similar to a great man of letters.
He's the consummate soprano saxophonist today and 'Revenue' allows a
beautiful glance into just one of his spheres of musical activity.
In the liners Lacy mentions the thousands of gigs this group has played
together over the years. He's clearly satisfied with the dimensions and
spirit of the musicians and the music, which continues to unfold around
brilliant corners. 'Revenue' will reward again and again.
CONTACT: BIRDLAND RECORDS (EXCLUSIVE DISTRIBUTOR) 3 BARRACK ST. SYDNEY 2000.
E-Mail: [email protected] Web: http://www.birdland.com.au
Reviewed by Matt Krieg
Source: Jazz Notes
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Steve Lacy / Mal Waldron: 'Let's Call This' SLAM CD501
Steve Lacy: soprano saxophone, Mal Waldron: piano rec. Oxford,UK, 1993
With an association spanning almost forty years, these two jazz masters bring a wealth of experience to the concert platform at the 1993 Oxford Playhouse Jazz Festival. Emcee Lol Coxhill respectfully introduces the duo for their first appearance together on British soil, and then they're off, laconically and lovingly making their way through Monk, Ellington and Strayhorn territory with occasional detours to cover their own originals. Why does this gig sound so good? It's a great trio, simple as that. Lacy's long affair with the music of Thelonius Monk continues unabashedly. He remains one of the foremost interpreters of the composer's tunes. The dry tone and steady phrasing
belies a complete mastery of the soprano saxophone. Lacy is a pure delight and it's sheer pleasure to hear one of the great improvisers at work, all the way through this long set.
Mal Waldron's big left-hand chords bring a directness to the proceedings. The long and moody development of his own 'Snake Out' is particularly beguiling, settling the brew down to a slow burn after Lacy's startlingly probing solo. Lacy's austere 'Blues for Aida' is another highlight, meditative and unaccompanied saxophone hauntingly shadowed by the piano's ringing strings. And then there are the standards: familiar melodies made new again, good-humoured and marvellous. Lacy's and Waldron's Oxford outing is a terrific affair and comes heartily recommended.
Contact: SLAM Productions, 3 Thesiger Road, Abingdon, Oxon. OX14 2DX, England or try Birdland at 3 Barrack Street, Sydney,NSW, 2000
Jim Latta "Caravan" La Brava Music: LB9715 Total Time: 63:20 Retail Price: $30 (Approx) Jim Latta's CD "Caravan" shows, without a doubt, that jazz has become a truly international musical language. Jim is an ex-Adelaide drummer of some repute who is currently resident in Canberra and firmly established as part of the Sydney-Canberra Jazz Scene. He has assembled an extremely talented group of musicians from two continents (who now reside in Sydney) for his first CD of smoothly swinging jazz. Recorded in Sydney in February 1997, this multicultural group comfortably tackles 5 of Jim's original tunes mixed in with 6 others from the jazz repertoire. Joining Jim Latta (drums/arranger) on this CD are Col Nolan (piano - Sydney), Dave Seidel (bass - ex-Adelaide), Don Rader (trumpet/flugelhorn - ex-USA), Gordon Brisker (tenor sax/flute - ex-USA) and Fabian Hevia (percussion - ex-Chile). This fine group is more than ready to play the tunes selected for this CD. Jim dynamically leads the group from the drum chair with his own bright, tight drum style. Col Nolan's piano swings whether accompanying or soloing. Dave Seidel supports and solos well, while Don Rader exhibits a warm-toned trumpet throughout the CD. Gordon Brisker mixes the harmonic techniques of Coltrane with the smoothness of Ben Webster. Fabian Hevia provides the additional tonal colours required for the various tracks. "Onion Roll", a bright tempo blues with a bridge, by Herb Ellis starts the CD. This is followed by the Latin influenced "When Love Is New" by Cedar Walton. "Karen's Theme", a swinging original by Jim, is given an affectionate treatment. Another original by Latta, "Soweto Street Dance" (featuring Brisker's flute) grooves in an African way, and is followed by a relaxed, swinging original "Groovin' Easy". Jim's tribute to the late Eddie Mabo, "Mabo Blues", is a bright, up-tempo blues. Col Nolan's piano introduces McCoy Tyner's modal tune "Contemplation" which precedes Latta's blues-based rock tune, "Panama Jim" an original in the style of "Watermelon Man". The intimate ballad "Love Dance" by Paul Williams and Ivan Tors is followed by Ray Brown' stop-time blues, "Spherikal". The exotic title track, "Caravan" by Ellington/Tizol, features extended solos from Jim and Fabian. This group will be one of the main attractions of the 1997 Manly Jazz Festival to be held in October and after hearing this recording it's no wonder. An extremely professional CD of relaxed, swinging jazz from an accomplished group of like-minded individuals. Available directly from La Brava Music, Sydney, or from John Davis Music and all good CD stores. Reviewed by Greg Fisher Source: Adelaide Jazz Scene Go To Index
Urs Leimgruber / Fritz Hauser: "Duho" UNIT UTR 4062 CD
Urs Leimgruber: soprano and tenor saxophone, Fritz Hauser: drums, percussion, xylophone
The immediacy and interplay of this wonderful duo is evident in the opening staccato tenor shrieks and the expansive drum commentary that accompanies it. Leimgruber and Hauser are caught up in an expressive and open dialogue from start to finish, exploring brief narratives and two long, beautifully structured works which constantly engage the enquiring listener. Hauser's kit sounds like no other, his percussion and drum language provides a sparse and spacious counterpoint to the gruff tenor and serpentine soprano of Leimgruber. Hauser's playing balances on the razor's edge: absolute precision and an attentive rhythmic pull. It's no surprise that he is one of the most resourceful of solo drummers. Hauser ensures that the duo's music is full, exciting and open.
Leimgruber is equally effective, whether in a minimal soprano setting with repetitious glissandi over a rolling xylophone line, or interjecting the dialogue with restless, unpredictable tenor outbursts. Each piece unravels like a short story and resolves naturally into the following composition. The two Swiss musicians appear to be operating at the height of their powers and a fantastic logic and intelligence seems to steer these pieces along many dramatic and sensual tangents.
This is a recording that rewards careful listening and is an accessible introduction to the unique and exciting jazz that is coming out of Europe. I highly recommend "Duho" to the open-minded listener; there are pristine moments of clarity within.
Contact: ( distributor) RecRec Medien AG, PO Box, CH-8026 Zurich, Switzerland.
e-mail: [email protected]
Reviewed by Matt Krieg
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