Soprano saxophonist Steve Lacy has devoted much of his career to the music of Thelonious Monk, with whom he played for a few months in 1960. Shortly after that gig, Lacy teamed with trombonist Roswell Rudd in a quartet dev... more »oted exclusively to Monk's music. It's no surprise, then, that this reunion finds the pair once again paying tribute to Monk. Sparked by the quirky interplay between Lacy's spry, angular soprano sax and Rudd's rollicking trombone, this meeting captures the joyful, unfettered sense of exploration that can be missing in overly academic readings of Monk. Lacy and Rudd rear back and let 'er rip, with Lacy tracing brisk, sharply defined lines around the perimeter of the tunes while Rudd huffs, puffs, and wobbles his way along a path closer to the song's charming center. While only two Monk compositions are covered here ("Monk's Dream" and "Pannonica"), Lacy's "The Rent" sounds as if it could have been lifted from the composer's notes while Ellington's "Koko" is given a robust, swinging workout that revels in the nooks and crannies of the piece. Supported by Lacy's longtime rhythm section of Jean-Jacques Avenel (bass) and John Betsch (drums), this is a warm, yet precisely rendered work by two of creative jazz's finest. --S. Duda« less
Soprano saxophonist Steve Lacy has devoted much of his career to the music of Thelonious Monk, with whom he played for a few months in 1960. Shortly after that gig, Lacy teamed with trombonist Roswell Rudd in a quartet devoted exclusively to Monk's music. It's no surprise, then, that this reunion finds the pair once again paying tribute to Monk. Sparked by the quirky interplay between Lacy's spry, angular soprano sax and Rudd's rollicking trombone, this meeting captures the joyful, unfettered sense of exploration that can be missing in overly academic readings of Monk. Lacy and Rudd rear back and let 'er rip, with Lacy tracing brisk, sharply defined lines around the perimeter of the tunes while Rudd huffs, puffs, and wobbles his way along a path closer to the song's charming center. While only two Monk compositions are covered here ("Monk's Dream" and "Pannonica"), Lacy's "The Rent" sounds as if it could have been lifted from the composer's notes while Ellington's "Koko" is given a robust, swinging workout that revels in the nooks and crannies of the piece. Supported by Lacy's longtime rhythm section of Jean-Jacques Avenel (bass) and John Betsch (drums), this is a warm, yet precisely rendered work by two of creative jazz's finest. --S. Duda
CD Reviews
Worth it for the rarity alone
George Grella | Brooklyn | 04/06/2000
(5 out of 5 stars)
"Ah, Roswell Rudd. So desperately hard to find him on record, and such a great musician. Like Mal Waldron, Rudd is one of Lacy's great, simpatico partners. After their Monk repertory band went through "thin and thin" together in the early 60s, Lacy left for Europe. They have collaborated a couple times on record since, but it's welcome to have them on a major label. This is a much more relaxed group than their "School Days" recording, but more varied, with the backing of Lacy's superb rhythm section and a number of his own originals. Listen to a couple great old guys bring you great jazz, from roots to the avant-garde. Wonderful."
One stop shopping.
Troy Collins | Lancaster, PA United States | 05/16/2004
(5 out of 5 stars)
"Something must be in the water at Verve records. Last year they brought us the most unlikely major label album in years. The Cecil Taylor / Dewey Redman / Elvin Jones free jazz trio album that burned up all the critics picks for 1999. And it seems they're on a similar course with this one. Granted, Lacy's work has never been as difficult to digest as Taylor's has, but artists of his age and prominence are usually ignored by major American labels in favor of hot young up and comers. Whatever the reason for this album's major label release, rejoice. It may be one of his best in years. He is joined by his long time collaborator trombonist Roswell Rudd with whom he had played and recorded with years ago. This is a stripped down quartet album: soprano sax / trombone / drums and bass. There are however, two tracks with his wife singing in her "art-song" styled vocals on the heads of the pieces. This is an acquired taste for most people, and for those that have not heard them before, can be a bit off putting. When he was signed to Novus years ago, there was a conscious effort to keep her off the albums, so as not to scare off the record buying public. Brave move here by Verve to include her. The pieces are primarily what Lacy has referred to in concert as his "hits" and of course a few Monk tunes. This is a classic jam style session with lots of open blowing and solo space. No tricky stylistic shifts or post-modern juxtapositions on this here album, no sir. Just old fashioned blowing, kind of nice for a change. If you were to only buy one Steve Lacy album, you could do far worse."
Lacy Great As Usual, Rudd Not So Hot
Reader and Writer | USA | 04/23/2003
(3 out of 5 stars)
"Never is heard a discouraging word about trombonist Roswell Rudd, but listening to him lag behind the beat, create sound effects, and project a maybe-I'm-here-maybe-I'm-not affect just makes me tired. The CD picks up energy in the second half, as if the tracks were recorded in order and Rudd finally gets going. Oddly, the vocal tracks are the best, even though Aebi dubbed her voice in later rather than recording live with the band. What you want, instead of this CD, is "The Beat Suite" by Lacy with trombonist George Lewis, who astonishes with his facility and ideas."
Capturing The Spirit Of Steve Lacy
Reader and Writer | 06/13/2000
(5 out of 5 stars)
"In early March, I had the opportunity to see soprano saxophonist Steve Lacy with pianist Danilo Perez in Kansas City. Unfortunately, the flowery playing of Perez was not an ideal match for the bittersweet and angular approach of Lacy. I yearned to hear Lacy in a more supportive setting. The opportunity came a few days later with the release of Monk's Dream whcih features long-time Lacy counterparts Roswell Rudd (trombone), Jean Jacques Avinel (bass), John Betsch (drums) and Irene Aebi (vocals). For those of you unfamiliar with Lacy's style, this is a perfect place to start. It features fresh interpretations of Thelonius Monk tunes, something Lacy has been doing since the late 1950's; Lacy's tone poems, which are sung by his wife, Aebi; and some of Lacy's quirky compositions and playing as in "The Bath." Kudos to Verve for capturing the spirit of Steve Lacy and recording him with the people who know his music best."
If you have not heard this guy you are in for a surprise
miguel hiraldo | miami, FL United States | 02/04/2003
(5 out of 5 stars)
"Ok, i come from liking bands (and still do) like Mahavishnu orchestra, Weather Report, Soft Machine, etc.where jazz was mixed with other genre like rock or "world music". Really, its probably the only way a rock lover ever meets jazz. Then i started to encounter bands like carla bley, or John abercrombie quartet, where the balance is tipped a bit more to the jazz side of things. One day you come across a guy like Steve Lacy and suddenly you realize you are in the beginning againg...music which is not afraid to experiment with avant garde and mix the roots of jazz with whatever. Of course lacy made an incredible impact on me because this cat not only can play but composes very original stuff too. I suggest you start with the things he recorded in the Hatology label , or the silkheart label, but this is also a good one. Incredible playing, nice covers and wacky originals...for those not afraid to have their jazz as it is supposed to be...ever moving foward!"
Track Listings (9) - Disc #1