Steve Lacy • Sortie

 

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.
https://www.allmusic.com/artist/steve-lacy-mn0000753004/biography
Steve https://www.allmusic.com/artist/steve-lacy-mn0000753004/biography

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Biografía
por Scott Yanow
La carrera de Steve Lacy, uno de los grandes saxofonistas sopranos de todos los tiempos (a la altura de Sidney Bechet y John Coltrane), ha sido fascinante. Al principio tocaba el clarinete y el soprano (abandonó el primero a mediados de los 50), inspirado por Bechet, y tocó Dixieland en Nueva York con Rex Stewart, Cecil Scott, Red Allen y otros músicos más veteranos durante 1952-1955. Debutó en disco en un formato modernizado de Dixieland con Dick Sutton en 1954. Sin embargo, Lacy pronto saltó a varios estilos para tocar free jazz con Cecil Taylor durante 1955-1957. Grabaron juntos y actuaron en el Festival de Jazz de Newport de 1957. Lacy grabó con Gil Evans en 1957 (trabajarían juntos de forma irregular hasta la década de 1980), estuvo con el quinteto de Thelonious Monk en 1960 durante cuatro meses, y después formó un cuarteto con Roswell Rudd (1961-1964) que tocaba exclusivamente música de Monk; sólo un directo (para Emanen en 1963) resultó de aquel interesantísimo grupo.

Lacy, considerado el primer músico "moderno" especializado en soprano (instrumento totalmente descuidado en la época del bop), empezó a orientarse hacia el jazz de vanguardia en 1965. Formó un cuarteto con Enrico Rava que pasó ocho meses en Sudamérica. Después de un año en Nueva York, se trasladó definitivamente a Europa en 1967, pasando tres años en Italia antes de instalarse en 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 fijo con el que siguió actuando durante toda su carrera, en el que figuraban Steve Potts como contralto y soprano, la esposa de Lacy, la violinista y cantante Irene Aebi, el bajista Kent Carter (al que más tarde sucedió Jean-Jacques Avenel) y el batería 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 iban desde conciertos de soprano solista, numerosos homenajes a Monk, big bands y la musicalización de poesía, grabó un número incontable de sesiones para casi otros tantos sellos, con Sands apareciendo en Tzakik en 1998 y Cry en SoulNote en 1999. Sus primeros trabajos (1957-1961) fueron para Prestige, New Jazz y Candid, y más tarde apareció sobre todo en sesiones para Hat Art, Black Saint/Soul Note y Novus. Lacy, que padecía cáncer desde hacía varios años, falleció en junio de 2004. Sin embargo, su legado sigue creciendo con la publicación de varios directos de toda su carrera.
https://www.allmusic.com/artist/steve-lacy-mn0000753004/biography

Tracks:
A1 - Sortie    10:40
A2 - Black Elk    10:08
B1 - Helmy    2:04
B2 - Fork New York    14:51
B3 - Living T Blues    3:35
B4 - 2-Fou     0:03


Credits:
    Composed By – Lacy
    Double Bass – Kent Carter
    Percussion – Aldo Romano
    Recorded By – GTA (2)
    Soprano Saxophone – Steve Lacy
    Trumpet – Enrico Rava

Recorded February 4, 1966 in Milan.

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