Lapis in the kitchen

Luciano Caruso

Musician

An excerpt from an interview about the professional relationship between the interviewed musician and Steve Lacy, an important jazz saxophonist. The interviewee describes how meeting Lacy in 1976 was a turning point in his musical career. Lacy encouraged the interviewee to "play what you feel," opening new perspectives on improvisation. They worked together in duo and trio formats, influencing each other. The interviewee considers Lacy a mentor who changed his musical and philosophical approach. A memorable concert in Milan in 1977 is mentioned, with over 2,000 spectators, which was later released as a CD from an amateur recording discovered years later.
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Andrea Centazzo

Musician

Steve Lacy, a talented saxophonist, was a member of the group Musica Elettronica Viva (MEV) in Rome. His unique style, blending traditional jazz with MEV's creative anarchy, brought a new dimension to the group's music. He significantly contributed to the music scene, fusing Western modernism with African American music. Lacy also collaborated on projects like the album "Il Bestiario" and the radio series "Maritime Rites." His musical legacy is a testament to his talent and dedication to his craft.
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Alvin Curran

American composer, performer, improviser, sound artist

Rita De Vuyst

independant editor

Zlatko Kaučič

Musician

Gilles Laheurte

Jazz and Literature Fusion: The text discusses the concept of an ‘art song,’ a fusion of jazz and literature, akin to a “version 2.0” of Broadway musical jazz songs. It involves collaborating with poets and artists as lyricists, finding words that captivate and swing, and exploring themes like love, philosophy, spirituality, society, and oppression.
Steve Lacy’s Journey: It highlights Steve Lacy’s self-criticism and belief in his abilities, predicting in 1965 that he would write a “jazz opera.” The document also mentions his early sketches and the evolution of his music, blending speech and song.
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Vincent Lainè

Performer, sound artist

The author reflects on their musical journey, profoundly influenced by Steve Lacy's live performance in 1977. Lacy's sound, described as assertive and rich, emphasized harmonics and overtones, inspiring the author's exploration of these techniques. Lacy's teachings, such as the concept of sound as a place and the importance of physicality, shaped the author's approach to the saxophone. Lacy's warm-up routines and solo concerts are portrayed as intimate and focused, emphasizing the assembly of primary elements. The author draws parallels between Lacy's music and visual art, highlighting a shared purity and balance. They also discuss Lacy's collaborations, particularly his work on "Tips" and interpretation of Ellington's "Prelude to a Kiss." The essay concludes by reflecting on the evolution of Lacy's sound, from early rawness to mature elegance, emphasizing his clarity, visibility, and balance.
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Gianni Mimmo

Italian jazz saxophonist

Steve Lacy's compositional journey was marked by a unique blend of influences, ranging from Cecil Taylor and Gil Evans to Eastern philosophy. His early compositions, like those on "Disposability," reflect a departure from traditional jazz forms, embracing a more open and unpredictable approach. While his instrumental pieces gained recognition, his most significant work lies in the Art Songs, where he explored the relationship between text and music. Inspired by poets like Lao Tzu and Brion Gysin, Lacy developed a distinct musical language that intertwined melody, rhythm, and poetry. His compositions, often featuring unconventional instrumentation and structures, showcase his dedication to pushing musical boundaries. Lacy's legacy as a composer is defined by his innovative approach to integrating diverse influences, creating a unique and enduring body of work.
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Roberto Ottaviano

Italian jazz saxophonist

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Tino Tracanna

Italian jazz saxophonist

Steve Lacy's ballet "Futurities" premiered in Lille to a captivated audience. Based on Robert Creeley's poems, Lacy's music brings out the inherent melody of the poetry. The ballet is a collaboration of different art forms, including Kenneth Noland's painting and John Davis's lighting. Dancers Douglas Dunn and Elsa Wolliaston's contrasting styles create a unique beauty. Irene Aebi's voice perfectly captures the nuances of Creeley's poems. The ensemble of eight musicians, including Lacy's regular group and guest artists, create a rich musical landscape. The ballet was performed in France and recorded for Hat Art. Lacy's settings of Creeley's poems mark a significant moment in the marriage of jazz and poetry.
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Jason Weiss

Writer