Oliver Lake Albums (25)
What The Critics Say
Oliver Lake has never been your garden variety, typical jazz musician, so his fans should expect nothing less than something completely different and unique coming out of his biting, sharpened alto sax. With an organ combo, Lake's concept is no less intriguing and different from all the rest of the chitin' circuit bands one might have heard prior. Joining young rising B-3 star Jared Gold and the terrific drummer Jonathan Blake, Lake has created something singularly unique, with his horn as clearly the focus for this contemporary creative jazz that should stand most listeners on their collective ear. This music goes beyond funk, groove blues, or even swinging jazz, with Lake's pungent, challenging, but accessible alto prodding and probing for nuances and progressive stances far beyond the normalized or predictable. Blake is greatly responsible for this daring do, as his rhythmic propulsion goes far beyond mere timekeeping. His wicked drumming sets the tone on the sly, slinky "Say Girl," while his brawny yet understated funk -- the way it should be played without over-amping -- propels the more subtle "Move Groove." Lake is stronger than ever in his resolve and individualism on his horn, driving sideways during the spiky, at-times overblown, frantic blues shortie "Gano," avoiding exaggeration on the intriguing title track, and laying down a full-blown, straight-up St. Louis-to-Chicago "Olla's Blues," a real treat. There are two compositions from former Lake running mate, the late and legendary modern creative trumpeter and composer Malachi Thompson, as "In Walked John" opens the program in a jaunty New Orleans style with a superlative melody, while the equally outstanding "Spirit of Man" has the trio in a light but no less deep funk mood as Lake's alto carries the day save a witty calypso insert from Blake. Gold proves his worth continually as a new voice of the organ that does not need to show off or jump up and down in order to get attention. Like predecessors Don Pullen and Larry Young, or peer Larry Goldings, Gold fully understands how to shade and shape these compositions without shredding them up. "Nu Peace" firmly establishes this concept of probing into the depths of notes and chords without pushing the envelope, leaving that to his worthy band mates. The loping clip-clop trap-drum pace of "Dedicated to B.C." urging Lake's singsong sax, or the abundantly lyrical traditional number "I Want to Talk to Jesus" in its loose blue form, has the trio in great form from a team-oriented perspective. Oliver Lake has produced many wonderful recordings over four decades, and this likely is his most satisfying in recent years. It works on several different levels, is robust, refreshing, and comes highly recommended for both his fans and first-timers. ~ Michael G. Nastos, All Music Guide
'Lake, Tchicai, Osgood, Westergaard'
Release Date 1/1/2007
Tracks 8
Label Passin' Thru
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What The Critics Say
Recorded shortly after this quartet toured Denmark in 2003, the music on this co-op set is often reminiscent of early Ornette Coleman, Archie Shepp, and other free jazz masters of the early to mid-'60s. Oliver Lake displays a beautiful tone on alto, tenor saxophonist John Tchicai's comes up with some strong statements of his own while blending in well with Lake, and the team of bassist Jonas Westergaard and drummer Kresten Osgood is worthy of Charlie Haden and Billy Higgins, doing full justice to the latter in the tribute "Smiling Billy Higgins." There are many intense moments and, while the brief poetry reading (in German?) wastes space, the musicians are heard throughout in top form, matching their passion with lyricism. Recommended. ~ Scott Yanow, All Music Guide
'Oliver Lake Quartet Featuring Mary Redhouse/Santi Debriano/Gene Lake Live'
Release Date 2/14/2006
Tracks 9
Label Passin Thru
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What The Critics Say
It's been two years since Oliver Lake's last proper studio album, and this live set was recorded before that. This version of Oliver Lake's quartet included Native American flutist, poet, and vocalist Mary Redhouse, bassist Santi Debriano, and drummer Gene Lake. The music ranges from angular post-bop -- "Brass & Oak" -- to haunting Native American chants such as "Naisai," with aboriginal rhythms played by Gene, and spacious yet restrained free playing by the others. There are seriously angular workouts as well, such as "Yo' Dance" where Oliver blows and is responded to by the wood flute and Redhouse's gone vocalizing. "Montana Grass Song" is an authentic powwow song, completely reinvented by the band while respecting its traditional framework before making it a scattish/improv swing tune. The title track, from 2003's Cloth, is given a tough quartet reading as well. And it sizzles. Oliver's soloing here is particularly wonderful, but it's the rhythm section that keeps it all popping. Ultimately, this is a good date, but it's outside much of the jazz frame a lot of the time. It will appeal to Oliver Lake's hardcore fan base but it's the wrong recording to introduce to a novice. ~ Thom Jurek, All Music Guide
What The Critics Say
Oliver Lake had just celebrated his 61st birthday when, in September 2003, he finished recording Dat Love -- not exactly in his adolescence, but thankfully time hasn't robbed the saxophonist of either his chops or his risk-taking spirit. Lake is still open to trying new things, and this CD finds him leading an unusual group that has been billed as the Oliver Lake Steel Quartet since its formation in 1998. The group is so-named because it includes a steel pan player; the lineup consists of Lake on alto and soprano sax, Lyndon Achee on steel pan, Reggie Washington on electric bass, and Damon Duewhite on drums -- an unlikely combination of instruments, certainly, but one that yields fresh-sounding results on Lake's own compositions as well as arrangements of Oliver Nelson's "Stolen Moments," Horace Silver's "Señor Blues," and the Mary J. Blige/Stevie Wonder song "Time" (which works nicely as instrumental jazz and underscores the fact that jazz musicians cheat themselves when they refuse to interpret R&B songs). Achee isn't the first person to approach the Afro-Caribbean steel pan as a jazz instrument -- Andy Narell recorded his first album, Hidden Treasure, for Inner City Records in 1979 -- but he has a recognizable sound of his own and helps give the Steel Quartet much of their freshness. Despite Lake's history as an avant-garde player, Dat Love isn't terribly avant-garde or abstract -- actually, the melodic performances are fairly accessible, and this CD is best described as either advanced post-bop or Afro-Caribbean jazz (with hints of funk and soul at times). A consistently rewarding addition to Lake's catalog, Dat Love demonstrates that accessibility and a sense of adventure aren't mutually exclusive for the veteran improviser. ~ Alex Henderson, All Music Guide
'Have Yourself a Merry...'
Release Date 11/13/2001
Tracks 13
Label Passin Thru
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What The Critics Say
Talkin' Stick puts the versatile Oliver Lake into what could pass for a conventional hard bop quintet. However, with Lake's full-throated alto as the primary voice, there's little that's business-as-usual about this date. The session explores some in-the-pocket grooves mostly by the leader, with a couple felicitous contributions by Julius Hemphill ("Hard Blues") and Curtis Clark ("Only if You Live There"). Clark's piece is a real ear-catcher, with a playful, toy piano-like quality that Lake abstracts and broadens in a typically ferocious solo. Lake's own compositions include the opening waltz and the African-flavored "Masaai Moves," which gets a more extended reading than on Lake's string project recording, "Movement, Turns & Switches." Underneath, drummer Cecil Brooks III and Belden Bullock, Lake's regular bassist, maintain the groove. Geri Allen and vibraharpist Jay Hoggard provide trenchant, complementary solos. The session goes to prove that regardless of the setting, Lake's sound remains among the most distinctive in jazz. ~ David Dupont, All Music Guide
What The Critics Say
Lake presents his Steel Quartet with partner Lyndon Achee on the pan drums; the sound of his alto saxophone meshes and congeals in interesting ways. The harmonic overtones of both instruments offer a different kind of sonic stance that delivers constant conflict and resolution. Lake's signature salty, tart alto is present and accounted for throughout, with occasional outbursts into the upper stratosphere. Electric bass guitarist Reggie Washington and drummer Pheeroan AkLaff lay out a mostly rhythm and blues backdrop. You'd think that this band would naturally get into Caribbean modes, and they come into that realm with the happy calypso, "Yes You Broke." with a cage-rattling steel pan solo. A kinetic melody settles into samba on the title cut, with AkLaff bashing, flamming, and playing the melody line on his solo. The drummer is an expert rhythm navigator, whether playing a straight march beat under two static themes plyed by Lake and Achee on "Cloth," or eschewing direct funk in a more implied style over the jaunty, jumpin' unison melody of the Sonny Simmons piece, "Land of the Freaks." The best swinger of the date is "Le Sport Suite" where sections of melody in eight and six, or 7/4 time coalesce. There's a steady, funky take on the Charles Mingus evergreen "Goodbye Pork Pie Hat," while a special arrangement of John Coltrane's "Lonnie's Lament" starts typically meditational, then goes into a heavily funkified, stretched ostinato bridge as a springboard for jamming, and Lake's solo signifies mightily. Yeah! There's also a black bottom funk on the shorty "Socket," while "Brooke Rap" has a solid funk base, sharp stacatto melody, and "what if?" rap, proffering "what if you were happy every day?" and had everything you wanted or needed. Fans of Lake will like this recording, and the unique approach may turn new folks on to his music. ~ Michael G. Nastos, All Music Guide
'Movement, Turns & Switches'
Release Date 6/8/1999
Tracks 6
Label Passin' Thru
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What The Critics Say
This is a consistently fascinating set by altoist Oliver Lake's String Project. Best known for his exploratory flights, Lake is an underrated arranger/composer. For the unusual but consistently fascinating effort, he utilizes a string quartet (violinist Ashley Horne and Sandra Billingslea, Ashley Horne on viola, and cellist Eileen Folson) for five of his six originals, occasionally adding bassist Belden Bullock and (on one song apiece) trumpeter Kenyatta Beasley (during the well-titled "Fan Fare Bop") and Neil Clarke on conga. The music is adventurous but quite coherent, often rhythmic and melodic but very open to advanced ideas. These string players can definitely stretch out; improvised sections coincide closely with written passages, so it is sometimes difficult to know which are which. Lake keeps his solo statements concise, tempering his fire with the desire to blend in with the strings. For variety, the leader is absent on the title cut, a fairly outside duet by violinist Regina Carter and pianist Donal Fox. Overall, this is a CD that rewards repeated listenings and is one of the highlights of Oliver Lake's productive career. ~ Scott Yanow, All Music Guide
'Matador of 1st & 1st'
Release Date 1/1/1997
Tracks 37
Label Passin' Thru
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What The Critics Say
On this unusual set, Oliver Lake is heard solo, playing alto and a bit of soprano and flute, reciting poetry, telling stories, and covering a lot of topics in his philosophical and occasionally witty monologues. Whether it be the lack of black music on MTV, the constantly evolving English language, the difficulties of being Superman, the value of George Clinton, or humorous looks at his trips abroad, Lake shows that not only is he a talented musician but a first-rate commentator too. This set is certainly for selective tastes but listeners with an interest in both jazz and spoken word monologues will find much to savor here. ~ Scott Yanow, All Music Guide
