das hier ueber diese Saxophonschulen ist auch interessant, „we“ vorne sind natuerlich er und Grossman
Liebman:[…] But Lighthouse is the – Lighthouse is still – that’s kind of a classic among saxophone players. It captures that energy, and it captures that post-Coltrane thing. I know why Lighthouse is – I know why everybody puts it on their list. First of all, Elvin and Gene were amazing. But it’s because we, by then, had that language – whatever that language was, we had it down by then, that pentatonicy, post-Coltrane. We were the first generation post-Coltrane. Here we were. We were the hot guys in New York. We were the guys you had to hear, if you were young. We were basically playing whatever we could glean from Trane. I don’t think me and Steve ever sat down and talked about the music one inch, but we played a lot. We played a lot together. Besides Elvin and the loft, we had – it was kindred spirits. I was the Pharoah [Sanders] to his Trane. And then we did this dance where I was with Elvin and then Miles, and he was with Miles and then Elvin. So we’d change partners over this three- and four-year period. We were very close in that respect, but we never sat down and said, “It’s a pentatonic on E-minor.” But somehow we played it. That’s the language that comes across on The Lighthouse, and that’s why I guess people like it, and it’s notable for that reason.
Kirchner: Yeah, it’s – even at that time, in the ’70s, as soon as that record came out, a lot of the hip young saxophone players just jumped on that recorded and analyzed – that was one of those records that were like textbooks for young players. That one. Joe Henderson in Japan was like that. There were just certain records.
Liebman: Yeah, that happens every – New York has – I was telling this, because it was Joe, and it was us. Then it was Michael, and [David] Sanborn. Then Lovano had his time. Steve Coleman a time. Now Mark Turner and Chris Potter. Every five years, three to five, a new flavor of the month comes out, and that guy is hot. He’s the guy that saxophone-wise – it’s probably the same for all the instruments. It is – a guy is the guy, or guys, that you have to hear, and they’re working around New York. So you can hear them. New York’s like that now. It’s always like that. You have your little day in the sun when you’re the style, you’re the guy to listen to, and then it passes on to the – the torch is passed on. We were then, that period. Michael always, he said, “When I came to New York, I came to hear Steve and Dave. That’s why I came to – that was – I knew I had to hear them.” It’s like Miles coming to New York and Juilliard, and he knows he’s got to find Bird. That was what was happening. That was that period. The Lighthouseepitomized it.
(und danach geht es um seine Zeit bei Miles, was natuerlich auch interessant ist)
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Charles Loos, Steve Houben – Comptines
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