These drawings are done in gratitude to Steve for being a purveyor of the Way we must sustain through the openly loved art.

(Judith Lindbloom - liner notes)

Recorded in 1968 & 1974

Gallery of covers

Steve Lacy soprano saxophone Irene Aebi vocals (A1, A3) Richard Teitelbaum electronics (A) Michel Waisvisz electronics (B) Han Bennink drums (B)

Ind. Title Composer / Author Dur.
A1/ The Way Steve Lacy / Lao Tzu 2:51
A2/ Improvisation Steve Lacy 4:27
A3/ The Way Steve Lacy / Lao Tzu 6:30
A4/ Improvisation Steve Lacy 4:17
B1/ The Way
Pearl Street
The Duck
Steve Lacy / Lao Tzu
Steve Lacy
Steve Lacy

Recorded: (A) probably in Rome, circa 1968; (B) live in April 11, 1974 during the Workshop Freie Musik at the Akademie der Kuenste, produced by Free Music Productions (Berlin).

Tracks compiled, transfered from 7" reel tapes and edited by Vincent Lainé.

Cover art: Judith Lindbloom (oil on lp cover).

Liner Notes

"Art, generally speaking, always comes into being as a result of an action directed outward, sideways, toward the attainment (comprehension) of an object having no immediate relationship to art. It is a means of conveyance, a landscape flashing in a window — rather than the conveyance destination." (Joseph Brodsky)

side 1 The Way was the first song I wrote for Irene Aebi (opus #1 - '67 NYC). When we recorded these two versions with Richard Teitelbaum in Rome '68, there was only the melody. The harmonic and rhythmic structure took many more years to become clear. This was part of an 10 inch lp that never came out (the company folded). Richard Teitelbaum, Irene Aebi and I played together quite a bit, in New York and Rome '67-'68. He was the first musician to improvise on the first model of the Moog synthetizer. She was the first to sing Lao-Tzu (Witter Bynner's translation).

side 2 These performances were from a Berlin workshop '74 with Michel Waiswisz playing his home-made crackle-box + Han Bennink drums.

Steve Lacy (liner notes)

Steve Lacy's brilliantly articultate music has, literally, always been available to me - first through the juxtaposition of time/place in the NYC of the mid-50's, when I need but clean up a bit, walk three blocks, and arrive at the old Five Spot to, most inexpensively, hear Steve with Cecil Taylor, or the Coltrane-Monk Quartet, or that recent arrival Ornette Coleman. Those musics profoundly impacted the very nature of much that has been labeled the Downtown art scene, locally habituated, and also that of the wandering bards. Later, the proliferation of recordings from Europe helped fill that gap.

These drawings are done in gratitude to Steve for being a purveyor of the Way we must sustain through the openly loved art.

Judith Lindbloom (liner notes)

Notes (personnal communication from Heinrich Lukas Lindenmaeir):

  1. side A: "in this same session three more tracks (Overboard, Forehead, Processo) were recorded" [we had not these tracks on our tape];
  2. side B: "tracks possibly are from a rehearsal or informal meeting around the festival. [Han Bennink] was there the drummer with Peter Brötzmann's group. The synthesizer most probably is Waisvisz, although he was not scheduled in the festival program. He might have been there anyhow, for whqtever reeasons."

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