SL

Steve Lacy

67quotes

Steve Lacy


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Full Name and Common Aliases
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Steve Lacy was born Steven Norman Lacy on December 23, 1934, in New York City, USA. He is commonly known as "Saxophone Colossus" due to his immense talent and contributions to the world of jazz.

Birth and Death Dates


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Lacy passed away on June 5, 2004, at the age of 69.

Nationality and Profession(s)


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Steve Lacy was an American saxophonist and composer. Throughout his career, he worked as a solo artist, collaborator, and educator.

Early Life and Background


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Lacy grew up in New York City's Harlem neighborhood. His mother was a singer, and his father played the piano. This early exposure to music laid the foundation for Lacy's future success. He began playing the clarinet at age 11 but eventually switched to the soprano saxophone.

Major Accomplishments


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Steve Lacy's most notable achievement is his contributions to free jazz and avant-garde music. He was one of the key figures in the development of this genre, which emphasized experimentation and improvisation over traditional harmonic structures. His work with Ornette Coleman, John Coltrane, and Cecil Taylor helped shape the sound of modern jazz.

Lacy's solo career spanned over four decades, during which he released numerous critically acclaimed albums. Some notable works include _A Kossil in the Quagga_ (1967), _The Straight Horn of the Devil_ (1956-60), and _Saxophone Special_ (1975).

Notable Works or Actions


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Lacy's most significant work is his exploration of unconventional sounds, techniques, and instrumentation. He experimented with the soprano saxophone, pushing its limits to create unique timbres and textures.

One notable example of Lacy's innovative approach was his collaboration with poet Robert Creeley on the album _Live at the Brion Gysin Theatre_ (1984). This project combined spoken word poetry with Lacy's improvisational saxophone playing.

Impact and Legacy


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Steve Lacy's influence on jazz is undeniable. His emphasis on experimentation, individuality, and creative expression paved the way for future generations of musicians. Many notable figures in modern jazz, including Anthony Braxton and Tim Berne, have cited Lacy as a significant inspiration.

Lacy's work also extended beyond music. He was an advocate for social justice and human rights, often incorporating his musical talents to support causes he believed in.

Why They Are Widely Quoted or Remembered


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Steve Lacy is widely remembered for his unwavering commitment to artistic integrity and innovation. His pioneering spirit helped shape the course of modern jazz, leaving behind a rich legacy that continues to inspire musicians today.

Lacy's dedication to creative expression and social responsibility serves as an enduring testament to his impact on the world of music and beyond. As such, he remains one of the most quoted and revered figures in jazz history, with quotes from his interviews and writings frequently referenced by critics, scholars, and fans alike.

Quotes by Steve Lacy

I've always been extremely lucky in playing with great people who knew much more than I did. That's how I got from there to here.
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I've always been extremely lucky in playing with great people who knew much more than I did. That's how I got from there to here.
SL
We played for peanuts. But we did what we wanted to do, we heard what we wanted to hear, we performed what we wanted to perform, we learned what we wanted to learn.
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We played for peanuts. But we did what we wanted to do, we heard what we wanted to hear, we performed what we wanted to perform, we learned what we wanted to learn.
SL
I wanted to be a pianist but it just wasn’t my thing. I guess I wanted to stand up rather than sit down.
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I wanted to be a pianist but it just wasn’t my thing. I guess I wanted to stand up rather than sit down.
SL
I’ve been working on the soprano saxophone for 40 years, and the possibilities are astounding. It’s up to you, the only limit is the imagination.
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I’ve been working on the soprano saxophone for 40 years, and the possibilities are astounding. It’s up to you, the only limit is the imagination.
SL
You must have the music to justify an instrument’s extensive use.
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You must have the music to justify an instrument’s extensive use.
SL
It’s very important to go through periods where you sound just rotten and you know it, and you have to persevere or give up.
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It’s very important to go through periods where you sound just rotten and you know it, and you have to persevere or give up.
SL
The soprano has all those other instruments in it. It’s got the soprano song voice, flute, violin, clarinet, and tenor elements and can even approach the baritone in intensity.
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The soprano has all those other instruments in it. It’s got the soprano song voice, flute, violin, clarinet, and tenor elements and can even approach the baritone in intensity.
SL
Jazz is people’s music, a collectivity.
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Jazz is people’s music, a collectivity.
SL
It starts with a single sound. If there’s something in that sound, then it’s worth continuing.
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It starts with a single sound. If there’s something in that sound, then it’s worth continuing.
SL
I’ve performed solo for 20 years now, but I don’t do much of it, because if you only play alone, you go crazy and out of tune and play foolish music.
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I’ve performed solo for 20 years now, but I don’t do much of it, because if you only play alone, you go crazy and out of tune and play foolish music.
SL
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