Steve Lacy: Remains

On Facebook plenty of people have been posting the cover art of albums that have influenced them. Someone mentioned that the first time they heard St Germain’s Tourist was in a cafe (no surprises there.....quintessential cafe muzak of the early 2000s!). And that had me thinking.....

The best album I’ve heard playing in cafe (so far) was Steve Lacy’s Remains. I was wrapping up and about to leave, but stayed just to listen to the entire thing and purchased the album shortly after. And it remains (sorry) a favourite of mine. The cafe was Atomix. The staff were nice and the vibe was chilled out. Many blog posts were written there (and maybe some school work and job applications too), all accompanied by the consumption of tea, muffins, soup and egg sandwiches. It closed last year. It was bit of a haul to get there – about an hour walk - the added bonus was you passed Dusty Groove along the way. Well worth the walk (the bus took about the same amount of time... or longer).

For those interested, Remains is a solo album from 1991 and features one of my favourite Steve Lacy works – the Tao Cycle. The suite is a setting of selections from Witter Bynner’s 1944 translation of the Tao Te Ching – The Way of Life according to Lao Tzu.

Lacy started writing it in the late 1960s (and started recording it in the early 70s). He has recorded the entire suite a few times (with and without vocals) and would often record/perform individual movements. I think the version on Remains was the last time he recorded the song cycle in full (I need to double check that though).

 

Each of the six movements sets a particular ‘chapter’ of the Tao:

“Existence” = Chapter 4

“The Way” = Chapter 47

“Bone” = Chapter 33

“Name” = Chapter 1

“The Breath” = Chapter 6

“Life on its Way” = Chapter 40

And as highly as I rate Remains, I’m not sure I’d say it’s the place to start with the Tao Cycle. If you are interested in hearing the vocal version, check out his 1979 quintet recording, The Way (on HatHut records).

I’ve been thinking about putting together a radio programme featuring various recordings from the song cycle over the years. It's very much still in the early stages of planning, but I think it could be an interesting programme.

Straight Horning: Steve Lacy - Hooky

I had a fun at the monthly hang with friends listening to jazz records. This month the focus was vocalist. My selections were "The Things You See in New York City" from Tranceformation's In Concert and "Places" from Fred Farell's Distant Song (and interesting disc on which he sings pieces by David Liebman and Richie Beirach). Others played tracks from the likes of Cecile McLorin Salvant, Lizz Wright, Mark Murphy, Roberta Gambarini, and Bessie Smith. We finished the evening with part of a DVD of Manhattan Transfer that was pretty cringe-worthy. It really isn't my bag so to end the evening the car ride home featured something with a bit more intensity of purpose (I came prepared!). I first heard Steve Lacy's Hooky when my mate Craig lent me his copy. It was right around the time I was getting into Lacy.... almost 20 years ago (ouch!), and that week I gave it plenty of spins. I really dig his tone on this one. Tonight, "No Baby" and the Tao Suite kept me company once again. The CD player in my car is coming to the end of it's life and it wouldn't eject the disc tonight so maybe I'll be hearing a bit more Hooky tomorrow! I've been holding out, but I made need to invest in a bluetooth speaker if the CD player dies on me.

Music for Commuting: More Soprano (I got a fever)

It was Wayne Shorter's 86th birthday last week so 1 + 1 was a fitting (although completely coincidental) choice. I don't hear too many people taking about this album, maybe it's bit of a sleeper in his discography, but I dig it. Bonus points as Wayne sticks to soprano throughout and I particularly like his tone on this album.

It took a bit of hunting to track it down, but I really wanted to find a copy of Loneliness of a Long Distance Runner after reading that David Liebman rates it as one of his finest outings. The album has grown on me over the years and not having listened to it for a while, I really enjoyed it this time around. It's an all-soprano outing - solo with multi-tracked soprano. Lieb signed the album for me following a masterclass at PM Woodwind - I don't know why I didn't ask him about the recording process and how he put the work together. It's a must listen for Liebman fans, those keen on the soprano saxophone, and solo sax recordings. For those interested in composition, it's worth checking out how much Liebman can extract from the brief main theme. And again, completely coincidental, I'm posting this on Lieb's 73rd birthday.

Music for Commuting: A Bunch of Sam Newsome

For the last couple of weeks solo recordings from Sam Newsome have been accompanying the ride. I regularly read Sam's blog and follow him on social media, but it was about time I started catching up with his discography and these four are all new to me. I don't particularly like having to drive to work, but the music helps ease the pain - even if it is far from an ideal listening situation.

Sam often uses "extended" techniques in a way that those unfamiliar with them may find quite approachable. Over the last couple of years he's been working with "prepared" soprano saxophone
and while I dig the results of "Chaos Theory", I do miss the tone of his "unprepared" straight horn (although there are a couple of tracks where it appears).

There’s plenty here to keep me out of trouble (as there are with the other 4 discs I have of Sam’s), and I'm going to give each of these some dedicated time in the near future. And eventually I’ll get around to hearing his earlier work on Steeplechase... and his more recent ensemble recordings too (keen to hear him with Fay Victor).

The soothing sounds of Connie Crothers and Hayden Chisholm

On select nights over the past couple of weeks, Hadyen Chisholm's Circe (Jazz Haus Musik) and Connie Crothers' Music from Everyday Life (New Artists) have been doing the late night rounds as I drift off to sleep. Both are albums I return to often, particularly when the mind needs calming.

Straight Horning: Sam Newsome - Blue Soliloquy

Originally planned for last week, this post was placed on hold due to the Coltrane birthday post. The upshot being I was able to spent a little more time with Blue Soliloquy this week.

I’ve only heard Sam Newsome live once. It was a few years ago at Smalls along with Tim Berne, Andrew Cyrille, and Ethan Iverson - a pretty interesting lineup. I think it was a one-off gig, but I really enjoyed the two sets of free improvisation (not what you really expect at Smalls) and hoped that they would make a record together. That hasn’t happened (yet!) and Newsome has continued to focus on solo recordings. But last week he posted about his upcoming release - Magic Circle, a duo with pianist Jean-Michel Pilc - and it made me reach for Blue Soliloquy.

The first time I heard this album I was struck by Newsome’s upper registers (3^rd & 4^th octaves). It had been quite a while between spins, but once again it was the upper register playing that really popped out at me. He has a really full tone, with a laser-like focus, that doesn’t thin out or get overly bright as he hits the upper reaches (“Blue Beijing” "Blue Sunday"). The evenness across the entire range of the horn is a standout and I recommend soprano players to check him out - if they haven't already (even if they aren’t investigating the upper register). An added bonus of a solo recording is that it can allow you to hear nuances that may have been hidden by an ensemble.

I like how Newsome presents techniques in way a that may be a bit more palatable to more mainstream audiences. Multiphonics (“Blue Swagger”), quartertones (“Blue Monk”), and slap tongue (“Mandela’s Blue Mbira”) are just some examples that appear in his album-long exploration of the blues. But it’s not just a string of variations of the usual 12-bar format; instead Newsome delves into various musics from around the globe as inspiration for blues exploration. Also, these techniques add plenty in terms of colour and texture, preventing the album from getting bogged down by streams of single note lines (not that this is necessarily a problem, but you have to be pretty special to pull that off of an entire solo sax album).

Sometimes I feel that Newsome’s playing is a little too “arranged.” And while it could be viewed as weakness, I’ve come to view it as adding strength to his solo recordings. It brings focus to the pieces and cuts down on the possibility of them drifting (for what it’s worth… I didn’t have this “arranged” feeling when I heard him live). The length of the pieces, 15 tracks running between 2 and 5 minutes (with only “Blue Sunday” clocking in at 7:45), makes for a program of tunes that remain on the move, and again makes the pieces quite approachable to listeners that may not be accustomed to solo recordings or the “exotic” sounds employed by Newsome.

Also on the cards last week was re-reading various chapters of Newsome's book. I tend to prefer books on jazz from the artists point of view (such as Art Taylor’s Notes and Tones, Ran Blake’s Primacy of the Ear, the Arcana series, Lacy’s Findings and some of Liebman’s books). Life Lessons from the Horn, pulls together short essays on his approach and philosophy of practicing and playing makes for some interesting reading in a very digestible form (adapted from his blog posts).

In a music where everyone struggles to “find” his or her voice, Sam Newsome definitely has one that is his own (and Life Lessons details some of that journey). If anything, Blue Soliloquy has reminded me I need to listen to more Sam Newsome. Eventually, I would like to work through some of his earlier soprano albums (such as his pre-solo work on Steeplechase), but the newly released Magic Circle will likely be my next stop.

Straight Horning: David Liebman - The Tree

David Liebman: The Tree (Soul Note) 

Solo soprano saxophone, 1991

Although Loneliness of a Long Distance Runner predates this album by a few years, The Tree was Liebman’s first truly solo outing. No overdubs, just solo soprano.

The concept album (along with the tribute album) is bit of a specialty of Liebman, and I think he over does it. The Tree features 12 improvisations (each in the 3-5 minutes range), with the components of a tree used as a conceptual framework for the improvising. Liebman moves from the “Roots,” to the “Trunk,” “Limbs,” “Branches,” “Twigs,” and “Leaves” and then back through the cycle in reverse.

As usual, tone is the first thing that grabs my ear. There’s plenty of buzz to the sound (in the middle register especially). It’s definitely something I associate with Liebman’s sound from this era, but it is particularly apparent on this recording. The conceptual framework of the album works, as the structure brings enough variety to keep things interesting, while Liebman’s trademark chromatic lines and fiery approach to the horn bring continuity to the work.

“Roots” - the less dense of the movements features wider intervals

“Trunk” - snaking lines increasing in boldness

“Limbs” - up-tempo lines moving to breaking point (with the occasional grunt or two)

“Branches” - more lyrical approach with a bit more breathing space, combines approaches of the previous three tracks and hints at things to come.

“Twigs” - airy sounds, trills, and flourishes intensify moving towards leaves.

“Leaves” - wailing altissimo and multiphonics (I think it was Ron McClure who coined the “pet store on fire” phrase when describing Lieb playing this way).

I can’t say Liebman is my favourite soprano player, but as a soprano saxophonist I do enjoy listening to him on the straight horn. It’s a case of enjoying hearing someone who can really play the instrument but not really connecting aesthetically. 

Straight Horning: Joe Giardullo - No Work Today

Joe Giardullo: No Work Today - Nine for Steve Lacy (Drimala Records) recorded December 2004

Joe may have more of name as a mouthpiecemaker/refacer than as a player. But first and foremost, he’s a player, and I’m finally getting around to having a listen (beyond a few things online here and there). Dedicating a solo soprano saxophone recording Steve Lacy is bold, and then topping things off with a couple of Lacy’s compositions….. It’s gutsy, but he makes things work. 

Initially, I couldn’t help comparing his approach with Lacy, but that died down later in the week. It doesn’t seem like Giardullo deliberately goes out of his way to not play like Lacy, but instead plays through the influence, letting his music come through naturally. And this brings to light the differences.

- He has a full, resonant tone - a bit brighter or more focussed (I like the subtle growl he employees sparingly).

- Articulation, phrasing and rhythmic feel (particularly on more conventional 8^th note lines) is definitely his own.

- Overall Giardullo is busier - space is not explored like Lacy does in solo performance. 

When you add things up, the “Lacyness” may be more of a case of guilt by association….But Giardullo does capture (or express) some of the spirit of a Lacy performance.

Aside from the two pieces by Lacy, a number of the improvisations are loosely based on - and at times not so loosely based on - tunes by Ellington (“I Got It Bad,” “In a Sentimental Mood”) and Monk (“Work,” “Misterioso,” “Thelonious”). It seems being on bit of an Ellington kick makes Duke's tunes show up unexpectedly. The approach Giardullo takes with these improvisations - using the song as a template for exploration rather than blind adherence to a strict rule - is very much in line with something I have been working on in my own playing (most recently with some of Duke tunes, including “In a Sentimental Mood” last week). And on that note, No Work Today has provided some refreshing, and well-timed listening this week.

Straight Horning: Steve Lacy - Clinkers

On Friday I spent some time at the Harold Washington Library writing some emails and working on future blog post ideas. Steve Lacy’s Clinkers (HatOlogy), a live solo recording from 1977 in Switzerland, got three or four spins across the day. While a lot of the time it was accompanying my work, I did dedicate my attention to each individual track at one stage or another over the course of the day (and a little more on Saturday).

The opening couple of riffs from “Trickles” bounced around my head the rest of the evening (the opening of "Coastline" is bit of an ear worm too). Lacy’s style of composition is as personal as his improvising and his tone is second to none. The horn's entire range (and beyond) sparkles with flexibility, color variance and dynamic shifts. Although I listen to Lacy on a regular basis, even when I take bit of a break his music travels with me. As is the case with other favorites of mine (such as Billie & Prez, Connie Crothers, Richard Tabnik, Lee Konitz, Hayden Chisholm, Lennie Tristano) the music has been absorbed in a way that it is always with you. 

And while Clinkers may not be the solo album I would recommend to someone new to Lacy (although that would depend on where they were coming from), I do enjoy hearing him explore some of the outer reaches of the soprano. My mind is a little fuzzy, but it was probably through Lacy that I was introduced to this type of approach to the saxophone. But now that I think about it, I did hear Evan Parker for the first time right around then too, so he likely crossed the line first in my mind, but Lacy had a more immediate impact.

Anyway, It wasn’t that long after I heard Lacy playing solo in the flesh (from memory, he played Ellington & Monk tunes) that I listened to my first solo recording of Lacy’s - Hooky (thanks Craig!)... another live recording. I remember being a bit baffled by pieces like “The New Duck." Not sure how they fit into the music of studying, it stayed on the back burner. But I remained curious, and a little later on I checked out Weal and Woe (thanks Goose!) another live recording... I think there's a pattern here. And now, all these years later, Clinkers and pieces like "Micro Worlds" and "Duck" are more comfortably digested. While I used to focus on trying to make sense of the "odd" sounds coming from his horn, these days I marvel at the way he incorporated them in with conventional playing to create a unified piece.

When it came time to take a break from the computer, I turned to the Larry Gushee's Pioneers of Jazz: The Story of the Creole Band. This has been on my reading list for a while now. Even though I only read the introduction and opening chapter, I have a feeling that I am going to enjoy the rest of it. However, it will have to wait as I'm currently in the middle of another slice of jazz history from later on in the century - more on that later.

Straight Horning: Only Monk - More Monk

Over the last few weeks a couple of Soul Note releases from Steve Lacy - Only Monk and More Monk (from 1985 & 1989 respectively) - have been getting plenty of airtime around the apartment. I've been working on a few of Monk's melodies and aside of Thelonious' recordings (including Brilliant Corners, Monk Alone, Monk's Dream, and selected Blue Note tracks) my next point of call were these two solo albums from Lacy (followed by a few others such as We See and Reflections).

Anyone interested in Monk's music needs to check out Lacy's truly personal approach to this music. For me, Lacy boils things down to the essentials. Not that his playing is minimalist, but there is a stripped-back quality to Lacy's music that appeals to me. Notes never go to waste as he dives deep into the tune. He never seems in a hurry and the improvisations unfold in surprising ways, yet naturally - not forced. For those not familiar with his own compositions, this may be more evident when he plays Monk tunes (perhaps even more so on these solo recordings).

It's hard to play favourites with these two equally solid albums. If you can only go for one, just pick the album with the tunes you prefer.

I would love to hear Eronel from 1979, which I think is Lacy's first solo album to feature an all-Monk playlist. My fingers are crossed for a re-issue to appear.

Straight Horning: Steve Lacy - Sands

Steve Lacy – Sands (Tzadik)

Unaccompanied recordings (this one is from 1998) are a great way to delve into a players sound. Lacy’s tone is complex, rich and full of overtones shaded with varied articulations, vibrato, a growl or two and subtle dynamic shifts. There is a reedy buzz surrounding the note with the breath becoming prominent at times along with the occasional touch of saliva. Nothing is fixed which, in my opinion, is the mark of a great improviser - repeated notes change in colour with every attack, vibrato ebbs and flows etc. On Sands his low register struck me in particular – “fat” doesn’t do it justice. Detail in his tone exists at all dynamic levels, albeit different details (his pianissimo playing great and an area I wish to explore further in my own playing).

The album has one non-solo track – a duo with vocalist Irene Aebi. The two create a remarkable blend (no doubt helped by decades of playing together).

Straight Horning: Time Lapse/Follies/Chirps

Evan Parker Time Lapse (Tzadik)

Recorded in various sessions between 1996 and 2001 this solo album mixes up solo pieces with overdubbed solo works. Parker sticks to soprano throughout (aside from “Organ Point” where he plays organ in addition to soprano). Check out the strong melodies he blows over the hypnotic backing on “Ak-Kor-Deer” (great, clean tone here too). “Pulse and the Circulation of the Blood” features more hypnotic soprano’s circling around each other. “Chorus After Alaric 1 or 2 for Gavin Byers” has an eerie, lyrical, unrushed quality to it that appeals to me. The three solo pieces are more in line with Parker’s previous solo soprano recordings. The more I listen to Parker the more I dig is sound. When Parker holds notes/plays clean his tone really comes to the fore – something that doesn’t always show through on his solo outings.

Steve Lacy Quintet Follies (FMP)

Steve Potts (alto sax) Irene Aebi (cello) Kent Carter (b) Oliver Johnson (d) I picked this up from the Destination Out store. It’s pretty raw live recording (Berlin 1977) and that rawness matches the intensity of the music. It’s an intense album and recommended for those looking for some full-throttle Lacy (check out his burning solos on “The Crust” or the title track. The band is breathing fire with the two saxophones blowing on top. Aebi’s cello adds to the vibe, it has a dark mysterious quality to it – this album would sound very different without it (or if it had been replaced with, say, piano). Potts has a distinctive voice on alto for which I feel he gets very little acknowledgement. Lacy really took the horn places… not just soprano, but the saxophone in general and the music too.

Steve Lacy & Evan Parker Chirps (FMP)

Another disc I picked up at the Destination Out store. The first three tracks are from a Berlin concert in 1985 and the remaining three tracks were recorded at the same venue following the concert. The two soprano masters are well attuned to one another and have a great blend (tone/sounds and musically). It’s nice to hear the Lacy influence on Parker’s playing. He plays differently here - I was (pleasantly) surprised to hear just how much Parker moved towards Lacy during this disc. This is a very listenable set and one that I’m sure to return to again and again. Soprano players put this on your required listening, and anyone interested in duo performances will take plenty away from this album. It’s a very nice sounding recording too.