Possibly the most accomplished modern jazz soprano sax player, Steve Lacy neve got the popularity that he deserved, probably because for most of this career his music was considered too left of center. This is a sad and unfair label, as this collection of eight of his albums show that his music was quite accessible, although a bit ahead of its time. The purity of his tone was admired by all who aspired to play the straight sax.
His 1957 debut has him in a mainstream mood with Wynton Kelly/p, Denis Charles/dr and Buel Neidlinger/b emphasizing his career long love for Thelonious Monk in “Work” and Duke Ellington with “Day Dream” and “Rockin’ In Rhythm”. His devotion to Monk continues in 1958 on his next album of the pianist’s material, bringing in long time mate Mal Waldron/p, Buell Nedlinger/b and Elvin Jones/dr for a gorgeous “Ask Me Now” and tricky pieces like “Four In One”. In 1960, he’s joined in the rare scenario with baritone saxist Charles Davis and John Ore/b with Roy Haynes/dr for more Monk in “Played Twice” and some Cecil Taylor pieces like “Air”. Two years later, he mixes Monk and Ellington with Ornette Coleman sidemen Don Cherry/tp and Billy Higgins/dr as well as Carl Brown/b for exciting takes of “Let’s Cool One” and “The Mystery Song”.
In 1963, Lacy started a relationship with trombonist Roswell Rudd, co-leading a team with Dennis Charles/dr and Henry Grimes/b for a mix of exuberant Monk material such as “Bye-Ya” and “Brilliant Corners”. A trio album in 1965 with Aldo Romano/dr and Kent Carter/b includes both Monk material like “Pannonica” and Carla Bley in “Generous 1”. Pianist Bley and trumpeter Mike Mantlier join the band in a rare recording in Holland that includes originals “Doctor” and “Closer”. One last album from 1966 is a rare concert in Argentina that has Lacy with Enrico Rava/tp and a collection of South African ex-pats, playing two long hghly improvised originals that is a kaleidoscopic opus. This set shows how Lacy could swing, bop and go off the deep end all in a single breath.