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Search Result for Artist steve Lacy
viewing 1 To 18 of 18 items
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EG 009LP
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Recorded Live in Italy in October 1985 and mastered directly from the old dusty cassette, here's a previously unheard Steve Lacy recording from a rare duo appearance with pianist Martin Joseph, a little known yet fascinating British musician who had worked with Harry Beckett, John Surman, Ian Carr, and Tubby Hayes, among others, and who later became a regular presence on the Rome mid '70s creative Jazz scene. This recording presents an opportunity to listen to the soprano sax giant in a repertoire not frequently found on his other duo recordings with pianists. The set list includes some of Lacy's finest compositions like "Prospectus," "Flakes," and "Coastline," plus Thelonious Monk's classic "Bemsha Swing," a tribute to Monk's visionary mastery where Joseph's contrapuntal response to Lacy's angular lines leads the music towards a multidimensional space, a quality to be found throughout the whole album. This is a wonderful discovery, and a significant addition to Lacy's discography and legacy. Contains printed inner sleeve with archival photos and extensive liner notes by two Italian soprano saxophone specialists Roberto Ottaviano and Eugenio Colombo, and pianist Martin Joseph himself.
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ICTUSRE 008LP
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The final two LPs in the latest Ictus batch, The Ictus Archives Vol. 1 and Vol. 2 (ICTUSRE 008LP), both draw on the same period that the veteran saxophonist produced Clangs and Trio Live, both recorded in 1976 during of two weeks that he was touring Italy with Andrea Centazzo, released in 1976 and 1977 respectively, and reissued in 2021's batch. Gathering four sides of material, issued as two individual LPs, here is an offering of incredible insight into that moment's striking collaborations with Centazzo and the bassist Kent Carter, forming in duo and trio configurations. The Ictus Archives Vol. 1 and Vol. 2 encounter Steve Lacy -- one of the giants of American free jazz -- already two decades into a career defined by brilliant collaborations with Cecil Taylor, Don Cherry, and Thelonious Monk, among others, as well as a sprawling body of visionary work as a leader. Like so much of his work leading into this period, it draws upon the saxophonist's belief that an artist should play what you feel, a position that Centazzo recalls as having torn down the curtain that separated his technique from his creativity. The lyricality of Lacy's playing sets them apart from the more brittle and textural temperance featured throughout much of the label's output. Three tracks on Vol. 2 -- "Name", "The Way", and "Bone" -- recorded on December 5th, 1976, in Udine Italy -- were two duos with Centazzo, and the trio ("Feline") on the second side, stands distinct, with each player issuing rapid fire interventions within an airy sense of space. Crucial artifacts of the seminal saxophonist at the height of his career, never before encountered in these full concert formations, and thus pushing the historical importance of the Ictus reissue series to the next level. Cover picture by Roberto Masotti, courtesy of Lelli e Masotti archive.
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ICTUSRE 007LP
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The final two LPs in the latest Ictus batch, The Ictus Archives Vol. 1 and Vol. 2 (ICTUSRE 008LP), both draw on the same period that the veteran saxophonist produced Clangs and Trio Live, both recorded in 1976 during of two weeks that he was touring Italy with Andrea Centazzo, released in 1976 and 1977 respectively, and reissued in 2021's batch. Gathering four sides of material, issued as two individual LPs, here is an offering of incredible insight into that moment's striking collaborations with Centazzo and the bassist Kent Carter, forming in duo and trio configurations. The Ictus Archives Vol. 1 and Vol. 2 encounter Steve Lacy -- one of the giants of American free jazz -- already two decades into a career defined by brilliant collaborations with Cecil Taylor, Don Cherry, and Thelonious Monk, among others, as well as a sprawling body of visionary work as a leader. Like so much of his work leading into this period, it draws upon the saxophonist's belief that an artist should play what you feel, a position that Centazzo recalls as having torn down the curtain that separated his technique from his creativity. The first volume of Steve Lacy pieces from the Ictus Archives features five pieces: "Figment", "Coastline", "Swab", "Hooky", and "The Duck", encountering the saxophonist playing solo live renditions of some of his classic pieces from the period ("Coastline" appeared on his seminal FMP LP Stabs / Solo In Berlin) and in two duos with Andrea Centazzo, one of which, "The Duck" was previously issued as a solo piece (also on Stabs / Solo In Berlin) and now emerges in this new form. The recordings featured across the album's two sides were captured on February 18th 1976 in a concert in Udine Italy and have never before been issued in such a focus form. The lyricality of Lacy's playing sets them apart from the more brittle and textural temperance featured throughout much of the label's output. Crucial artifacts of the seminal saxophonist at the height of his career, never before encountered in these full concert formations, and thus pushing the historical importance of the Ictus reissue series to the next level. Cover picture by Roberto Masotti, courtesy of Lelli e Masotti archive.
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CVSD 095CD
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What could possibly happen when two ultimate masters of soprano saxophone square off for their only recording of duets? Chirps is the only place to find out. Steve Lacy -- the one who planted the flag for soprano saxophone in the ground of modern jazz, who established its iconic status, who devoted himself to the axe with monkish devotion, who brought shakuhachi breath and stairstep melody into its upper-register antics. Evan Parker -- arguably the one who pushed the instrument the furthest post-Coltrane, the technical marvel, the polyphonist, the one willing to immerse in the instrument's harshest environs and find things of radiant beauty. Performed in Berlin at the Haus am Waldsee in July, 1985, it was every bit the chamber concert -- super intimate and interactive, gorgeously recorded by FMP's Jost Gebers in an ideal acoustic room. Rather than alternate between one and the other, Lacy and Parker explore middle-terrain the whole time, perhaps skewing a tad more Lacy's funky-tuneful direction, becoming a single soprano entity made of fragments of sound sometimes accreting into perfectly imperfect lines. Two long tracks, "Full Scale" and "Relations," are completed by a final four-minute coda aptly titled "Twittering." Indeed, the whole program has the joyous interactivity of Paul Klee's painting "Twittering Machine," birds aligned on a line, proposing and picking up lines, nothing cruel or mean-spirited, free play all a graceful twitter. This CD reissue restores the original Tomas Schmit design from the initial release on SAJ Records. Licensed directly from FMP. Edition of 500.
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ICTUSRE 001LP
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Ictus Records' reissue initiative fittingly begins with Clangs, the first LP issued by the label in 1976. Featuring Steve Lacy on soprano saxophone, bird calls, and pocket synthesizer (or "crack box"), with Andrea Centazzo on drums, percussion, whistle, and vocals, the album is the culmination of a couple of weeks that the two artists spent together while Lacy was touring Italy during that year. Clangs encounters Lacy -- one of the giants of American free jazz -- already two decades into a career defined by brilliant collaborations with Cecil Taylor, Don Cherry, and Thelonious Monk, as well as a sprawling body of visionary work as a leader. Like so much of his work leading into this period, it draws upon the saxophonist's belief that an artist should "play what you feel", a position that Centazzo -- roughly 15 years Lacy's junior -- recalls as having torn down the curtain that separated his technique from his creativity. Comprising a series of duets that investigate timbral relationships, the fragmentation of melody, and abrasive, provocative noise -- shifting from the sparse, airy, and restrained, to dance clusters of interplay and back again -- Clangs, for all its radicalism and forward-thinking gestures, rests firmly within the historic structures of jazz, deploying the idiom of theme/solo/theme. Lacy's playing is at the top of his form -- fluttering and dancing with a primal touch -- met by Centazzo's rattle and pattern of percussive interventions, the notes and polyrhythms of each respective player being the product of careful listening, response, and raising the bar. Edition of 250.
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ICTUSRE 003LP
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Originally issued in 1977, Trio Live was recorded in 1976, only a handful of days after Steve Lacy and Andrea Centazzo's Clangs (ICTUSRE 001LP) was laid to tape, presumably capturing another moment on the same two-week tour that had rendered the recordings for its brilliant predecessor. This time, the pair -- Lacy and Centazzo -- is joined by the American bassist, Kent Carter, a sinfully under-appreciated artist who had worked extensively in Steve Lacy's group, played on the two Jazz Composer's Orchestra LPs, and toured in the bands of Don Cherry, Alan Silva, Mal Waldron, Bobby Bradford, Max Roach, Roswell Rudd, Derek Bailey, John Stevens, Trevor Watts, Steve McCall, and many others. The previous year, he had also delivered the stellar LP, Kent Carter Solo With Claude Bernard, as Ictus's second LP, allowing Trio Live to be understood as a narrowing of an already tight circle, despite its slightly expanded ensemble. Arguably best defining the first two entries in the Ictus reissue series -- Clangs and Drops (ICTUSRE 002LP) -- is a sense of rigorous and artistry. While no less present across the length Trio Live, what takes the forward charge throughout its five tracks is a sense of joy and pure pleasure in playing together. The sounds and structural interventions are locked in and tight, feeling at ease and intuitively responsive in the ways that players with a history of collaboration are only able to produce. From swinging and chugging to stepped back and sparse combinations of rhythm and tone -- moving from the lingering sensibilities of straight-ahead jazz to radically out hard blow fire -- Trio Live is a cornucopia of brilliant artistry and improvised music. Edition of 250.
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SOW 007LP
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2022 restock. Sowing Records present a reissue of Evidence from Steve Lacy With Don Cherry, originally released in 1961 on Prestige label. This album stands as one of Steve Lacy's earliest Monk's music explorations. A reflective journey through the visionary world of the high priest of bop featuring the great Don Cherry on trumpet, the solid Carl Brown on bass and the marvelous Billy Higgins on drums. A historical studio session based on a Monk/Ellington split track list including four Monk's compositions and two lesser-known Ellington pieces. After sixty years, it's still pure joy, listening to the soprano sax master matching with Cherry's harmolodic pocket trumpet. Clear vinyl.
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FOX 021LP
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Alternative Fox present a reissue of Steve Lacy, Alvin Curran, and Frederic Rzewki's Threads, originally released in 1977. Playing in Dixieland jazz bands during his teens and then passing through some Kansas City jazz acts, New York-born alto saxophonist Steve Lacy became associated with the avant-garde jazz movement from the mid-1950s, playing on free jazz pianist Cecil Taylor's influential debut LP and early work by the Canadian pianist Gil Evans, before serving a long tenure with the idiosyncratic improv pianist Theolonius Monk, whose work he would continue to reference throughout his career. Visiting Europe from the md-1960s, starting with a trip to Copenhagen with pianist Kenny Drew (who made the Danish city his home thereafter), Lacy later travelled to Italy to form a quartet with Italian trumpeter Enrico Rava (who had earlier played in Argentinian sax player, Gato Barbieri's group), plus South African exiles and former Blue Notes members Johnny Dyani on double bass and Louis Moholo on drums. Lacy subsequently moved to Paris, which became his permanent base from 1970, leading a sextet there whilst also exploring the limits of the alto saxophone as a solo instrument. The disparate and often discordant album Threads was recorded in Rome at Mama Dog studio in 1977 for filmmaker-turned-record producer Aldo Sinesio's Horo Records label; comprised of six of Lacy's own compositions, the album saw Lacy supported by Alvin Curran on piano and Frederic Rzewski on flugelhorn, synthesizer, and percussion, the pair both longstanding members of the experimental group, Musica Elettronica Viva.
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V 25AH986LP
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For this historical concert held at the Yubin Chokin Hall, in Tokyo on May 14, 1986, the legendary Japanese drummer Masahiko Togashi brought together an amazing line-up with such modern jazz luminaries as Steve Lacy (soprano sax), Don Cherry (pocket trumpet), and Dave Holland (bass). This particular album consists of four previously unpublished tracks (on vinyl), including some highly regarded Lacy's compositions such as "The Crus"" and "Quakes" and Don Cherry's African flavored anthem called "Mopti". The Lacy-Cherry frontline flies over the agile, airy rhythm section of Holland and Togashi and the interplay between the four master musicians sounds loose and relaxed. This is a must-hear for any post free jazz fan.
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JD 125LP
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Jeanne Dielman presents a reissue of Steve Lacy's Reflections, originally released on New Jazz in 1959. The legendary reeds-man Steve Lacy takes on the brilliant compositions of Thelonious Monk. Reflections is a glorious quartet session with Lacy on soprano sax, accompanied by the great Mal Waldron on piano, as worthy a pianist to take on the tunes of Monk as one could imagine, along with Buell Neidlinger on bass, and the amazing Elvin Jones on the trap kit. Though it's only Lacy's second recording as a leader, his maturity and range are well on display here as he re-imagines seven of Monk's beautiful tunes as his own.
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ZORN 051LP
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Aguirre Records present a reissue of Distant Voices, Steve Lacy's rare Japanese collaboration album, originally released in 1976. Renowned for remarkable solo concerts that confirmed his mastery of the soprano horn and that carried its instrumental language into previously unexplored regions, Lacy also loved to collaborate with musicians who could inspire him to stretch the boundaries of his own artistry. During the summer of 1975 Lacy toured Japan, and on June 24th he entered a Nippon Columbia studio in Tokyo with Yuji Takahashi and Takehisa Kosugi, two adventurous kindred spirits, guaranteed to fire Lacy's creative imagination. The fascinating outcome of that dynamic session is Distant Voices, an album without parallel in Lacy's extensive discography. Composer Iannis Xenakis was so impressed when he heard Yuji Takahashi playing piano in 1961 that he later wrote music especially for him. His repertoire extends back to Bach and Purcell yet for Takahashi, music has remained an open quest and a process of discovery. Takehisa Kosugi on the other hand has been a legendary figure in the international avant-garde since the mid-1960s when his work was endorsed by the fluxus movement. In Japan he was by then already well established as leading practitioner of experimental music and intermedia performance art. At the time Distant Voices was recorded Kosugi had also developed a following for his electric violin playing with the Taj Mahal Travellers, a group whose sound had strong stylistic affinities with psychedelic rock and space music. Subsequently other audiences worldwide came to know Kosugi through his long association as a composer, performer, and musical director with the Merce Cunningham Dance Company. On 24th June 1975 Takahashi sat at a grand piano, with celeste and vibraphone alongside him and small bells attached to his hands. Kosugi was equipped with violin, flute, mouth organ, an electronic modulator, porcelain bowls and at times he used his voice. Lacy played soprano saxophone, of course. Now and then he pressed the mouth of the instrument against the skin of a kettle drum. He occasionally fiddled with a transistor radio, and also found uses for a stepladder, a toothbrush, and a spinning wheel. This was in no sense a routine musical session. Distant Voices preserves a unique occasion when three singular musicians joined together to embrace the unknown. Licensed from Columbia Japan. Remastered and lacquer cut by Rashad Becker. 180 gram vinyl.
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2CD
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CVSD 045CD
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Corbett Vs. Dempsey present a reissue of Steve Lacy's Stamps, originally released in 1979 as a double-LP on Hat Hut. Stamps was Steve Lacy's first for the legendary Swiss label, and it remains one of the strongest statements of what he termed the "scratchy seventies". With the classic lineup of Lacy's soprano saxophone, Steve Potts on soprano and alto sax, Irene Aebi on cello (and singing on one track), Kent Carter on bass, and Oliver Johnson on drums, the recording catches the band live, performing Lacy's angular, intervallic compositions, using arrangements that leave the rough patina, rather than buffing things to a smooth shine. This is the first time the important music has been reissued on CD, adding a bonus track, all remastered from the original tapes. The double-disc package sports a facsimile reproduction of the gorgeous artwork by Klaus Baumgärtner, with action photographs from the concerts on the interior. A must for Lacy fans and for anyone interested in creative music.
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CVSD 018CD
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2015 release. A reissue of Steve Lacy and Steve Potts's Tips, originally released on Hat Hut Records in 1981. Soprano saxophonist Lacy wrote the suite of tunes for Tips to feature the aphorisms of painter Georges Braque, as sung by Irene Aebi. Together with his right-hand-man, alto saxophonist Potts, he and Aebi recorded these 14 anthemic tracks in Paris in 1979, and the young hat Hut Records label issued them on a now-rare LP. The music allowed Lacy to extend and deepen his longstanding interest in setting text to music, and at the same time it provided a perfect context for extrapolated duets with Potts, whose dedication to Lacy over twenty years of collaboration somewhat overshadowed his own creative output. This CD is the first release of Lacy's full Hat Hut Records oeuvre, mastered from the original tapes. Personnel: Steve Lacy - soprano saxophone; Steve Potts - alto saxophone; Irene Aebi - voice. Music by Steve Lacy; text by George Braque. Recorded in Paris, December 14, 1979. Remastered at Experimental Sound Studio, Chicago, January 2015; Reissue produced by John Corbett.
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OI 010LP
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Soprano saxophonist Steve Lacy continued his early exploration of Thelonious Monk's compositions on Evidence, originally released in 1961. Lacy worked extensively with Monk, absorbing the pianist's intricate music and adding his individualist soprano saxophone mark to it. On this release, he employs the equally impressive Don Cherry on trumpet, who was playing with the Ornette Coleman quartet at the time, drummer Billy Higgins, who played with both Coleman and Monk, and bassist Carl Brown. Cherry proved capable of playing outside the jagged lines he formulated with Coleman, being just as complimentary and exciting in Monk's arena with Lacy. Out of the six tracks, four are Monk's compositions while the remaining are lesser known Duke Ellington numbers: "The Mystery Song" and "Something to Live For" (co-written with Billy Strayhorn). Edition of 500.
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ROAR 028LP
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2022 restock. In June of 1977, Steve Lacy and Joe McPhee shared a double bill in Basel, Switzerland. Lacy invited McPhee to join him for a duet to close his set, for which McPhee elected to bring out his own soprano saxophone. The main part of Lacy's performance was issued on the classic Clinkers LP (1978); after 36 years, here is The Rest. This one-sided, limited LP marks the first and only time that these two master musicians played together, but the simpatico meshing of their distinctly individual voices points towards a shared history on a different plane. Previously unreleased material licensed from Hat Hut Records. Cover artwork by Judith Lindbloom. Download coupon included. "This 20-minute improvisation shows two stylists of the soprano sax jousting, jabbing, dovetailing and slithering around each other. At times, it sounds as if Lacy is going to go into one of his compositions and McPhee, for his part, holds his own against the master, his more visceral soprano sound contrasting nicely with Lacy's elegance. This limited-edition, one-sided vinyl is truly an unearthed gem." ?Robert Iannapollo, New York City Jazz Record
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LP+CD
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SN 521003LP
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"Recorded on July 2-3 1984 at the Barigozzi Studio in Milan, this album represents one of the most important tributes ever made to the music of Herbie Nichols. The eccentric and visionary bop of this great pianist and composer is brought to life once against in all its stylistic originality through this amazing interpretation by Steve Lacy (soprano sax), George Lewis (trombone), Misha Mengelberg (piano), Arjen Gorter (bass), and Han Bennink (drums), a true supergroup in contemporary jazz."
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ESPDISK 1060CD
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In 1966, the late Steve Lacy visited the new ESP-DISK' office at 156 5th Avenue with a master tape of his concert in Buenos Aires with his quartet, Louis Moholo, Enrico Rava and Johnny Dyani. He offered to sell the master for what I thought was an exorbitant price. I bought it. This LP was released featuring a reproduction of a painting by his friend, the late Bob Thompson, who had died before obtaining recognition. In 1992, the master tape was brought to engineer Ken Robertson at the Sony Studio, who observed that it had been recorded out of phase, and he corrected the phasing. -- Bernard Stollman
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HAT 546
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Reissue of a long o/p HatHut LP, a historic solo soprano sax album by Steve Lacy, recorded live 6/9/77 at Restaurant Zer Alte Schmitti is Basel, Switzerland. "Only the sixth Hat to be released by the emerging record label in the late 70s, the first half of a live concert in Basel (Joe McPhee waiting in the wings). Steve Lacy investigates life in the interstices of the internal and external worlds, translated through and narrated by a soprano saxophone.
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