Steve Lacy / Mal Waldron:
Communiqué
Recorded in 1994
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Steve Lacy / Mal Waldron:Communiqué
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|
Recorded in 1994 |
| Ind. | Title | Composer | Dur. |
|---|---|---|---|
| 1/ | Who Knows? | Thelonious Monk | 4:02 |
| 2/ | Peggy's Blue Skilight | Charles Mingus | 6:53 |
| 3/ | Smooch | Charles Mingus, Miles Davis | 5:42 |
| 4/ | Blue T. Monk | Thelonious Monk | 6:07 |
| 5/ | Roll On | Elmo Hope | 5:23 |
| 6/ | No More Tears | Mal Waldron | 5:46 |
| 7/ | Esteem | Steve Lacy | 6:09 |
| 8/ | Prayer | 6:27 | |
| 9/ | Fondest Recollections | Mal Waldron | 8:34 |
| 10/ | Wickets | Steve Lacy | 4:55 |
| 11/ | Communiqué * | Mal Waldron, Steve Lacy | 3:56 |
* is an improvisation.
Recorded on March 8 & 9, 1994 at Mu Rec Studio, Milano (Italy). Engineer: Paolo Falascone.
Mastering: Gennaro Carone, PhonoComp, Tribiano-Milano (Italy).
Producer: Dave Douglas. Executive producer: Flavio Bonandrini.
Cover painting: William S. Burrough ("Rub Out The World", 1989). Cover art: Maria Bonandrini.
C'est la saison des duos sax-piano (avec Shorter-Hancock et Ornette-Kühn). Celui-ci vient s'ajouter à une série de même forme, piano et soprano, signée par ces deux partenaires qui cultivent une amitié musicale de longue date. Ce disque de 1994 réunit des compositions de Monk (leur point focal), de Mingus, d'Elmo Hope et de chacun des deux compères.
[...]
Vérité paradoxale du jazz, ici communiquée : le corps, la danse, la fête, oui, mais la hauteur. En même temps, et en variant indéfiniment les formules. Le contraire du laisser-aller. Comme a dit le poète: " Il faut suivre sa pente, pourvu que ce soit en montant ".
Claude Poizot (Jazzman 29 - octobre 1997)
On Communiqué, the only dually credited track, Lacy states a nearly Ellingtonian theme by himself and then immediately begins twisting it inside out as Waldron joins. It sound like free improvisation, though not the sort of most frequently thought of in that regard. Waldron and Lacy stay in the upper register for a while until Waldron drops his left hand down, relieving an almost claustrophobic tension that had huilt up - and then they wind that tension back up until letting it slow gracefully to a halt without a restatement of the head. It is in fact a free improvisation, it's merely a more extreme example of the ease with which these two longtime collaborators communicate.
Steve Holtje (excerpt from liner notes - Steve Holtje writes regularly for The Wire and other publications and has an online magazine, JazzZine)