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. 6 original albums from the soprano sax maestro including works with Don Cherry & Gil Evans; Soprano Sax, Plays Theloniuous Monk, Straight Horn Of.., Evidence, Gil Evans & Ten, Great Jazz Standards.

Recorded just three months before arranger/pianist Gil Evans's death, this duet album teams Evans with the great soprano saxophonist Steve Lacy. In truth, Evans's playing here is generally little more than melody statements and comping behind Lacy. The duo performs lengthy versions of three Charles Mingus tunes, Duke Ellington's "Paris Blues" and Lacy's "Esteem."

Avid Jazz continues with its Four Classic album series with a re-mastered 2CD release by Steve Lacy, complete with original artwork and liner notes.
“Soprano Sax”; “Reflections - Steve Lacy Plays Thelonious Monk” “The Straight Horn Of Steve Lacy”; and “Evidence”.
Born in New York City, Steven Norman Lackritz (better known to jazz fans as Steve Lacy ) was one of a rare breed of jazz men to play the soprano sax, almost exclusively. Other famously few players include Sidney Bechet, Johnny Hodges and occasionally John Coltrane. For a musician starting life in a Dixieland jazz band playing alongside such greats as Henry “Red” Allen and Pee Wee Russell, Steve Lacys jazz journey may look an unexpected one…

This reissue of a 1969 French date makes its very first appearance on CD and its debut as a U.S. release some 25 years after its original issue on the BYG label as Epistrophy. Plays Monk is also the first record Lacy made after taking up residence in Paris. His band for the outing features the legendary Italian drummer Aldo Romano, the pianist Michel Graillier, and bassist Jean-François Jenny-Clark. There are five unusually complex Monk tunes here - "Thelonious," "Ruby My Dear," "Light Blue," "Mysterioso," and "Friday the Thirteenth" - and two versions of "Epistrophy." This is easily Lacy's "straightest" album from the period, and he stays melodically and harmonically close to Monk's original compositions in the heads before taking off somewhere else in the solos…

This double-CD reissues the nine numbers from a former double LP, adding three previously unreleased tunes from the same Switzerland concert. The Steve Lacy Five (the leader on soprano, Steve Potts on alto and soprano, Irene Aebi on cello, violin and vocals, bassist Kent Carter and drummer Oliver Johnson) is at its best on scalar-based instrumentals such as the near-classic "Blinks." Some tunes utilize the voices of Aebi and Lacy, and these are often quite eccentric and for more selective tastes. But the many strong solos by Lacy and the highly underrated altoist Potts makes this two-fer of interest for followers of advanced jazz. This was always a well-organized and highly original group.

Steve Lacy walked into the ESP-Disk offices in New York in 1966 and offered to sell Bernard Stollman a tape of a concert he had recorded with his quartet during a concert in Argentina (where they had been stranded). That band was truly an international one: Lacy and Italian trumpeter Enrico Rava made up the front line, and the rhythm section included South African expats Johnny Dyani on bass and drummer Louis Moholo - who had both been members of the Blue Notes and the Brotherhood of Breath with Chris McGregor. The musical interaction that takes place over 40 minutes here is compelling, fraught with openness and the willingness to explore the margins. Unlike a lot of the other "new thing" recordings made at the time, the focus here is unusually rich, expressive, colorful, and easy on the ears - though it may not have been at the time…

This album, "The Window", is about light. Travelling light as a trio but also illuminations. From the teachers and players he has known Lacy-forges his own light. His tunes are like little jewels tiggering reflections, or refractions, while they spin in your hand. They stick to your thoughts and light the way home, like that window at the end of the path.
Experience is also what gives such a deep equilibrium to the playing of this trio. Oliver Johnson and Jean-Jacques Avenel have a long tenure with Lacy’s music as regular members of his sextet. This is their first album as a trio, and the sureness of their intuition can't be faked. They are used to playing as six, so the trio is a crystalized form of the regular band.
A breadth of vision, a certain spaciousness, characterizes Lacy’s music…