[Dixielandjazz] Steve Lacy Obit
Stephen G Barbone
barbonestreet at earthlink.net
Fri Jun 6 17:40:35 PDT 2008
Another GIANT is gone. He got his start in with Dixieland, but few of
us remember him when . . .
Sadly
Steve Barbone
NY TIMES - June 5, 2004 - By BEN RATLIF
Steve Lacy, 69, Who Popularized the Soprano Saxophone
Steve Lacy, an American soprano saxophonist who spent more than half
of his 50-year career living in Europe and helped legitimize his
instrument in postwar jazz, died yesterday in Boston. He was 69.
The cause was cancer, according to an announcement from the New
England Conservatory of Music, where Mr. Lacy had been teaching since
2002.
After performing in New York, his hometown, Mr. Lacy moved to Italy
and France, and became the most Europeanized of all expatriate
American jazz musicians. He married one of his musical collaborators,
the Swiss-born singer Irene Aebi, who survives him. He insisted on a
literary dimension to his work, incorporating texts by novelists,
poets and philosophers -- as well as visual-art and dance components,
when time and money allowed.
For someone long considered an avant-garde artist, Mr. Lacy always
insisted that nobody could get more avant-garde than Louis Armstrong;
his best work was anti-highfalutin and doggedly practical. His most
representative melodies, like ''The Bath'' and ''The Gleam,'' use
gentle repetition and gentle wit; he developed his saxophone tone to
be as attenuated as a Hemingway sentence, and his improvised lines as
succinct. At the end of his life, hounded by tax problems in France,
he returned to the United States, moving in 2002 to teach at the New
England Conservatory and live in Brookline, Mass.
Mr. Lacy formed musical partnerships and made records at an
astonishing rate. He led working bands of up to eight musicians for
nearly 30 years; he also performed and recorded often as a solo
saxophonist and in duos with partners as different as the American
pianist Mal Waldron and the Japanese percussionist Masahiko Togashi.
One of his discographies lists 236 items up to the year 1997,
including more than 20 solo saxophone albums.
Mr. Lacy was born Steven Lackritz and grew up on the Upper West Side
of New York City. Clarinet was his first instrument; then, inspired by
hearing Sidney Bechet's version, recorded in 1941, of a Duke Ellington
song, ''The Mooche,'' he decided to pursue Bechet's instrument, the
soprano saxophone. At the time -- it would still be a few years before
John Coltrane would make it popular with his recording of ''My
Favorite Things'' -- he had little competition.
At the age of 21, he was performing the standard Dixieland repertory
on both instruments at Stuyvesant Casino and the Central Plaza in New
York; he shared stages with musicians like Henry Red Allen, Pee Wee
Russell, Buck Clayton and Hot Lips Page, and his teacher, Cecil Scott.
And he was also playing at the Newport Jazz Festival with the pianist
Cecil Taylor, who was terrifying audiences by doing away with
traditional structure and tonality. Mr. Lacy worked with Mr. Taylor
for six years and with other bandleaders as well, including Gil Evans;
he always described this mix as the best possible training for a jazz
musician.
One of them was Thelonious Monk, who became a guiding aesthetic master
to Mr. Lacy for the rest of his life. Through playing with Monk in a
quintet and big band, and studying his music assiduously, Mr. Lacy was
able to absorb the elder musician's wit, economy, insistence on simple
rhythmic patterns and range of melody. He once described Monk's music
as perfect for the soprano saxophone: ''Not too high, not too low, not
easy, not at all overplayed and most of all, full of interesting
technical problems.''
In 1966, with no work at home, Mr. Lacy began his long trip away from
America. He took a group to Argentina and ended up stranded there for
nine months because of political unrest. Later he headed to Rome with
Ms. Aebi, where they worked with Musica Elettronica Viva, a quartet
that blended modern-classical tendencies with improvisation and
included two other American expatriates, Frederic Rzewski and Alvin
Curran. After a brief stay in Rome, Mr. Lacy and Ms. Aebi moved to
Paris in 1970, in the beginning of the era that he often called ''post-
free'': all experimentation came grounded in scale and melody. And
with his long-lasting sextet, which he started shortly after he
arrived in Paris, he found an original compositional style: lilting
and singsongy with a bitter twist, often compared to nursery rhymes,
though Thelonious Monk's sense of melody was probably a greater
influence.
Mr. Lacy preferred to collaborate with artists from other fields. Most
of the time that meant setting words to music, and in his group Ms.
Aebi sang poetic texts by Herman Melville, Robert Creeley, Gregory
Corso and Lao Tzu, among many others; in other works he collaborated
with dancers, painters and stage designers. ''To me,'' he said in a
1990 interview, ''music is always about something or somebody, or from
somebody or something. It's never in the blue, never abstract.''
Mr. Lacy was awarded a MacArthur Fellowship in 1992; he published a
book of writings and saxophone exercises, ''Findings,'' in 1994. The
French government's ministry of culture appointed him Chevalier of the
Order of Arts and Letters in 1989 and Commander in 2002. In addition
to his wife, his survivors include a sister, Blossom Cramer, and a
brother, Martin J. Lackritz.
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