Last time we heard some of Steve Lacy’s first recordings, and then focused on two of his performances of Monk’s piece “Evidence.” The second version was from an album of the same name that teamed Lacy with Don Cherry, little-known bassist Carl Brown (see the info in the previous post), and Billy Higgins, in November 1961.
Lacy demonstrates a full mastery of the horn (in Brilliant Corners, I believe he goes above the normal range, most likely the earliest example of him going that high, which he would do fluently thereafter, making it one of the trademarks of his style.
Also worth noting that this recording occurs in the year following his three-month tenure with Monk, which gave him the opportunity of really digging into the music in the presence of the master.
Finally, at this early date, Lacy had certainly taken his cue from Monk who said you improvise on my tunes, not the harmonies. You hear him paraphrase B.C. all over his improv.
On the basis of these two samples, looking forward for the next two gems!
Question: how did this tape land in your lap, Lewis? Should its owner be divulged?
Yes, as I mentioned last week he also goes above the range on the session with Don Cherry from two weeks later. And I presented one of his tracks with Monk from 1960. I have been asked not to discuss the provenance of this session in writing. THANK YOU MARC
Those trio tracks are fantastic. Amazing that they were never released. Lacy is in great form, and the way B.Higgins orchestrates and fills Brilliant Corners is astonishing! Thanks for sharing these gems.
I'm so glad to be hearing this! It's from a year after the recording of 1960, which was released on Candid in 1961, 'The Straight Horn of Steve Lacy', an album I adore.
Yeah, I’ve been listening to that album since I was a teen. It will NEVER get old. I saw him play with his sextet a few times in NYC at Verna Gillis's soundscape over on the west side. So amazing.
Camila, thanks for the heads up on 'The Straight Horn.' Just heard it for the first time. The kind of meaty repertoire Lacy favored, and sho' nuff he gets it going. As always Roy Haynes is Mr. Energy.
These are absolutely "Never released"! I have presented and will continue to present many items like this that have never been released and for whatever reasons never will be. THANKS ANDREW
Thanks for these completely fresh examples of Lacy's playing from his early career, his best period in my opinion when he was extending the jazz tradition of swing and blues sensibility. His wonderful sense of drama and continuity is clearly present on his "Just One of Those Things" feature from an early Gil Evans record. I lost track of Lacy after about 1970. I did hear his quintet around 1980 with another soprano, possibly Lacy's student. Undoubtedly my limitations, but what I heard seemed like exercises with the horns exchanging and varying three- or four-note patterns. I'd be happy to read more knowledgeable takes on Lacy's later playing.
Woohoo! Thank you for these treasures Lewis. As mentioned above Lacy really follows Monk's admonition to not "play bebop on my tunes"—which is a good fit because he (Lacy) was never a bebop player (even though I love his version of Donna Lee from "The Straight Horn"), and played more on the spirit of tunes than in the "nailing every chord change" way that's become more prevalent since then.
Absolutely! As I said in my first post, "Lacy feeds off of the “concept” of Monk’s theme— the unpredictable rhythms and spaces, for example—without imitating the actual notes of the theme in any way." THANK YOU IAN !
Quite remarkable.
Lacy demonstrates a full mastery of the horn (in Brilliant Corners, I believe he goes above the normal range, most likely the earliest example of him going that high, which he would do fluently thereafter, making it one of the trademarks of his style.
Also worth noting that this recording occurs in the year following his three-month tenure with Monk, which gave him the opportunity of really digging into the music in the presence of the master.
Finally, at this early date, Lacy had certainly taken his cue from Monk who said you improvise on my tunes, not the harmonies. You hear him paraphrase B.C. all over his improv.
On the basis of these two samples, looking forward for the next two gems!
Question: how did this tape land in your lap, Lewis? Should its owner be divulged?
Marc Chénard
Yes, as I mentioned last week he also goes above the range on the session with Don Cherry from two weeks later. And I presented one of his tracks with Monk from 1960. I have been asked not to discuss the provenance of this session in writing. THANK YOU MARC
Those trio tracks are fantastic. Amazing that they were never released. Lacy is in great form, and the way B.Higgins orchestrates and fills Brilliant Corners is astonishing! Thanks for sharing these gems.
I agree! THANK YOU STEVE
I'm so glad to be hearing this! It's from a year after the recording of 1960, which was released on Candid in 1961, 'The Straight Horn of Steve Lacy', an album I adore.
Yes, that's a great one and I'm a fan of Charles Davis's baritone work too. THANK YOU CAMILA
Yeah, I’ve been listening to that album since I was a teen. It will NEVER get old. I saw him play with his sextet a few times in NYC at Verna Gillis's soundscape over on the west side. So amazing.
Great! That's the group I saw too, with Irene Aebi singing. THANK YOU CAMILA
You’re welcome, Lewis.
Camila, thanks for the heads up on 'The Straight Horn.' Just heard it for the first time. The kind of meaty repertoire Lacy favored, and sho' nuff he gets it going. As always Roy Haynes is Mr. Energy.
Are these tracks commercially available anywhere now, Lewis?
These are absolutely "Never released"! I have presented and will continue to present many items like this that have never been released and for whatever reasons never will be. THANKS ANDREW
Check out Dickeson's drumming with Australian players. I don't know if he recorded with Bernie McGann, if so, that would be the place to look.
Yes, Andrew is terrific and has recorded with McGann as well as other well known artists such as Eric Alexander and James Morrison.
Thanks for more Steve Lacy. Always welcomed!
THANK YOU PETER!
Thanks for these completely fresh examples of Lacy's playing from his early career, his best period in my opinion when he was extending the jazz tradition of swing and blues sensibility. His wonderful sense of drama and continuity is clearly present on his "Just One of Those Things" feature from an early Gil Evans record. I lost track of Lacy after about 1970. I did hear his quintet around 1980 with another soprano, possibly Lacy's student. Undoubtedly my limitations, but what I heard seemed like exercises with the horns exchanging and varying three- or four-note patterns. I'd be happy to read more knowledgeable takes on Lacy's later playing.
Thanks for these memories of Lacy, and no need to apologize for your preferences. THANKS CRAIG!
Woohoo! Thank you for these treasures Lewis. As mentioned above Lacy really follows Monk's admonition to not "play bebop on my tunes"—which is a good fit because he (Lacy) was never a bebop player (even though I love his version of Donna Lee from "The Straight Horn"), and played more on the spirit of tunes than in the "nailing every chord change" way that's become more prevalent since then.
Absolutely! As I said in my first post, "Lacy feeds off of the “concept” of Monk’s theme— the unpredictable rhythms and spaces, for example—without imitating the actual notes of the theme in any way." THANK YOU IAN !