All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Lacy Pool, by pianist Uwe Oberg, drummer Michael Griener, and trombonist Christof Thewes, demonstrates the "circles within a circle" puzzle that mathematicians have riddled over for centuries. The piano covers of soprano saxophonist Steve Lacy's compositions were accomplished without the use of a saxophone, much like Lacy's interpretations of Thelonious Monk were made without a piano. Oberg's task of fitting a certain music (that of Lacy) within the circle of this trio, conjures multiple musical circles of jazz history.
The session has the feel of the hard bop cover band News For Lulu (Hatology, 1987) with saxophonist John Zorn, trombonist George Lewis and guitarist Bill Frisell. Freeing the trio of a saxophone allows the music new interpretation, yet retains Lacy's influence.
Lacy's piano-less covers of Monk used the trombone of Roswell Rudd. Here, Thewes' trombone eschews the precision of a soprano saxophone, taking Lacy's career past Sidney Bechet to older Dixielanders. The simplicity of "The Dumps" is at once thoroughly modern, yet could have come from the early 20th century. Their take on "Blinks" reveals Lacy's Monk influence, delivering an angled musical approach with sharp economy of presentation. Same with their expansion of Lacy's "Hemline," into "After Hemline."
The piece begins as an insouciant dance that shifts into an interpretive free duo between the players; Oberg's hands hunt notes, dancing off-camber behind the soaring trombone while Greiner fills the background. Elsewhere they negotiate the herky- jerky "Stamps" with ease; Oberg's piano shifting to a faux-stride before running dense repetitive chords over slurring trombone and drum pillages. The session concludes with the outright funkiness of "Raps," a sort of hard-boiled, detective groove machine, that lingers all the more.
I love jazz because with it I found my true voice. I have always sung since I was a very small child in school and church. And there have been many genre that I have enjoyed including spiritual, folk, country, latin, soca and pop
I love jazz because with it I found my true voice. I have always sung since I was a very small child in school and church. And there have been many genre that I have enjoyed including spiritual, folk, country, latin, soca and pop. But nothing has touched my artistic sensiblities like JAZZ! Two years ago I moved to Sarasota, FL where I renewed my focus on my singing career and I was so impressed with the quality, quantity and generousity of talented jazz musicains in the Suncoast area. I soon partnered with piano legend Billy Marcus and his trio with Don Mopsick and Stephen Bucholtz. What a blast working with these guys and having them back me up on my first jaz album, Here's To You... which was just released on October 1st. I can't wait to see where the coming year brings me! Check out syniacarrolljazz.com