Review by Al Campbell
Soprano saxophonist Steve Lacy continued his early exploration of Thelonious Monk's compositions on this 1961 Prestige date, Evidence. Lacy worked extensively with Monk, absorbing the pianist's intricate music and adding his individualist soprano saxophone mark to it. On this date, 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 Ellington numbers: "The Mystery Song" and "Something to Live For" (co-written with Billy Strayhorn).
Artist Biography by Scott Yanow
One of the great soprano saxophonists of all time (ranking up there with Sidney Bechet and John Coltrane), Steve Lacy's career was fascinating to watch develop. He originally doubled on clarinet and soprano (dropping the former by the mid-'50s), inspired by Bechet, and played Dixieland in New York with Rex Stewart, Cecil Scott, Red Allen, and other older musicians during 1952-1955. He debuted on record in a modernized Dixieland format with Dick Sutton in 1954. However, Lacy soon jumped over several styles to play free jazz with Cecil Taylor during 1955-1957. They recorded together and performed at the 1957 Newport Jazz Festival. Lacy recorded with Gil Evans in 1957 (they would work together on an irregular basis into the 1980s), was with Thelonious Monk's quintet in 1960 for four months, and then formed a quartet with Roswell Rudd (1961-1964) that exclusively played Monk's music; only one live set (for Emanen in 1963) resulted from that very interesting group.
Lacy, who is considered the first "modern" musician to specialize on soprano (an instrument that was completely neglected during the bop era), began to turn toward avant-garde jazz in 1965. He had a quartet with Enrico Rava that spent eight months in South America. After a year back in New York, he permanently moved to Europe in 1967 with three years in Italy preceding a move to Paris. Lacy's music evolved from free form to improvising off of his scalar originals. By 1977 he had a regular group with whom he continued to perform throughout his career, featuring Steve Potts on alto and soprano, Lacy's wife, violinist/singer Irene Aebi, bassist Kent Carter (later succeeded by Jean-Jacques Avenel), and drummer Oliver Johnson; pianist Bobby Few joined the group in the 1980s. Lacy, who also worked on special projects with Gil Evans, Mal Waldron, and Misha Mengelberg, among others, and in situations ranging from solo soprano concerts, many Monk tributes, big bands, and setting poetry to music, recorded a countless number of sessions for almost as many labels, with Sands appearing on Tzakik in 1998 and Cry on SoulNote in 1999. His early dates (1957-1961) were for Prestige, New Jazz, and Candid and later on he appeared most notably on sessions for Hat Art, Black Saint/Soul Note, and Novus. Lacy, who had been suffering with cancer for several years, passed away in June of 2004. His legacy continues to grow, however, as various live shows from throughout his career are issued.
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Reseña de Al Campbell
El saxofonista soprano Steve Lacy continuó su temprana exploración de las composiciones de Thelonious Monk en esta fecha de Prestigio de 1961, Evidencia. Lacy trabajó extensamente con Monk, absorbiendo la intrincada música del pianista y añadiendo su marca individualista de saxofón soprano. En esta fecha, emplea al igualmente impresionante Don Cherry a la trompeta, que tocaba con el cuarteto Ornette Coleman en ese momento, al baterista Billy Higgins, que tocaba con Coleman y Monk, y al bajista Carl Brown. Cherry demostró ser capaz de jugar fuera de las líneas dentadas que formuló con Coleman, siendo igual de elogioso y emocionante en la arena de Monk con Lacy. De los seis temas, cuatro son composiciones de Monk, mientras que el resto son números de Ellington menos conocidos: "La canción misteriosa" y "Algo por lo que vivir" (co-escrita con Billy Strayhorn).
Biografía del artista por Scott Yanow
Uno de los grandes saxofonistas soprano de todos los tiempos (con Sidney Bechet y John Coltrane), la carrera de Steve Lacy fue fascinante de ver desarrollarse. Originalmente se duplicó en clarinete y soprano (dejando el primero a mediados de los años 50), inspirado por Bechet, y tocó Dixieland en Nueva York con Rex Stewart, Cecil Scott, Red Allen, y otros músicos mayores durante 1952-1955. Debutó discográficamente en un formato modernizado de Dixieland con Dick Sutton en 1954. Sin embargo, Lacy pronto saltó sobre varios estilos para tocar free jazz con Cecil Taylor durante 1955-1957. Grabaron juntos y actuaron en el Festival de Jazz de Newport en 1957. Lacy grabó con Gil Evans en 1957 (trabajarían juntos de forma irregular hasta los años 80), estuvo con el quinteto de Thelonious Monk en 1960 durante cuatro meses, y luego formó un cuarteto con Roswell Rudd (1961-1964) que tocó exclusivamente música de Monk; de ese grupo tan interesante surgió sólo un set en vivo (para Emanen en 1963).
Lacy, considerado el primer músico "moderno" especializado en soprano (un instrumento que fue completamente descuidado durante la era del bop), comenzó a orientarse hacia el jazz de vanguardia en 1965. Tuvo un cuarteto con Enrico Rava que pasó ocho meses en Sudamérica. Después de un año en Nueva York, se trasladó permanentemente a Europa en 1967, con tres años en Italia antes de trasladarse a París. La música de Lacy evolucionó de la forma libre a la improvisación a partir de sus originales escalares. En 1977 ya tenía un grupo regular con el que continuó actuando a lo largo de su carrera, con Steve Potts en contralto y soprano, la esposa de Lacy, la violinista/cantante Irene Aebi, el bajista Kent Carter (más tarde sucedido por Jean-Jacques Avenel), y el baterista Oliver Johnson; el pianista Bobby Few se unió al grupo en la década de 1980. Lacy, que también trabajó en proyectos especiales con Gil Evans, Mal Waldron y Misha Mengelberg, entre otros, y en situaciones que van desde conciertos de soprano solista, muchos homenajes a los monjes, grandes bandas y poesía musical, grabó un sinnúmero de sesiones para casi el mismo número de sellos, con Sands apareciendo en Tzakik en 1998 y Cry en SoulNote en 1999. Sus primeras fechas (1957-1961) fueron para Prestige, New Jazz, y Candid y más tarde apareció más notablemente en sesiones para Hat Art, Black Saint/Soul Note, y Novus. Lacy, que había estado sufriendo de cáncer durante varios años, falleció en junio de 2004. Su legado continúa creciendo, sin embargo, a medida que se emiten varios espectáculos en vivo a lo largo de su carrera.
Tracklist:
1 - The Mystery Song - 5:45
2 - Evidence - 5:59
3 - Let's Cool One - 6:43
4 - San Francisco Holiday - 4:28
5 - Something To Live For - 5:50
6 - Who Knows - 5:25
Credits:
Bass – Carl Brown
Design, Photography By [Photo] – Don Schlitten
Drums – Billy Higgins
Liner Notes – Nat Hentoff
Soprano Saxophone – Steve Lacy
Supervised By [Supervision By] – Esmond Edwards
Trumpet – Don Cherry
Notes:
Recorded in Englewood Cliffs, NJ; November 1, 1961
Recorded By [Recording Engineer] – Rudy Van Gelder
Total time: 34:00
Label: New Jazz – NJLP 8271, New Jazz – NJ 8271
Released: 1962
Genre: Jazz
Style: Bop, Post Bop
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