The initial impact of hearing modern blowing on a soprano sax was somewhat like that of discovering an unfamiliar instrument in contemporary jazz. With Steve Lacy, the Bechet vibrato was smoothed to a sound more in keeping with the new trends in jazz. It was his own conception. He stood alone as a developing voice on a somewhat limited instrument. On these early quartet recordings, he is backed by two first-rate rhythm sections, featuring the great Wynton Kelly on Soprano Sax, and the succinct, punching Mal Waldron on Reflections, an enthusiastic tribute to Thelonious Monk's compositions. Lacy, who was fascinated by the pianist's music, said, "Monk's harmony comes from the melody. If you just play from the harmony, you're missing something. Monk has got his own poetry and you've got to get the fragrance of it." These sides showed that, besides Monk, he had also been listening to Sonny Rollins, John Coltrane, and Miles Davis
Z**N
もう少しマイルドな音かと思いましたが。
私個人としては、ジョン・コルトレインのような鋭い（チャルメラ的な）音よりも、ズート・シムズのようなマイルドな甘い音のソプラノサックスが好きなので期待したのですが、音質的にはやや鋭い音ですね。ただしこれは個人の好みなので。技術（テクニック）的にはやはり大したもので、たしかに先駆者ですね。
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