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| Four and Five |
| Jon Lloyd |
első megjelenés éve: 1999
56 perc |
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| (2007)
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CD |
| 4.145 Ft
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| 1. | Jump
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| 2. | Four and Five
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| 3. | Zilch, Zero, Zed
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| 4. | Blues For
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| 5. | Method
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| 6. | Xis
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| 7. | Take the Coltrane
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Jazz / Post-Bop, Free Jazz, Avant-Garde Jazz, Jazz Instrument, Saxophone Jazz
Recorded: 30th December, 1998, Gateway Studio, Kingston Hill Centre, Surrey
Jon Lloyd Sax (Soprano), Sax (Alto)
Marcio Mattos Bass
Paul Clarvis Drums, Percussion
Stan Adler Cello
Peter Pfister Mixing, Mastering
Steve Lowe Engineer
Werner X. Uehlinger Producer
Edition of 3000 CD's.
The compositions for this group were designed to be played with less of a pulse-driven approach than my earlier work with the Jon Lloyd Quartet - the ebb and flow of the music takes place organically according to the direction each performer wishes to take. Method maintains a straight pulse almost throughout, but not in a classic free-jazz manner. --- Jon Lloyd
John Lloyd's new quartet, sans the pianistic invention of John Law, is an earful to behold. Gone are the strange punch-drunk duels between the two, and that's not because Lloyd wanted to make his own voice predominant -- far from it, by adding an entirely new lineup save for Marcio Mattos, with Stan Adler on cello and Paul Clarvis on percussion. The astounding bang in the first five seconds of this record is both the acknowledgement of passage and the entrance into the new. Lloyd, who has previously taken his jazz cues from Anthony Braxton and Steve Lacy has shifted his sources of information: While Lacy remains an influence, the conical soprano investigations of Evan Parker are heard in Lloyd's work for the first time, as is the compositional methodology of Ornette Coleman. Where it seemed on previous recordings that Lloyd's primary concern was to dismiss any approximation of melodic invention, here, that very sensibility is at play -- not only as a way for the quartet to jump off into improvisation, but as a way of holding a particular composition's sway over its length and not to become mired within the free flow of ideas between band members ("Zilch, Zero, Zed"). Using Adler and Mattos is ingenious. It's really two cello players in that Mattos plays that instrument primarily. His interaction with Adler then is symbiotic particularly when overtone studies are called for within improvisation; the textural qualities and choices become enormous for both Lloyd and Clarvis to choose from. Improvisation moves deeper into microtonal investigation and the distance between instruments lessens while widening it in sonic terms ("Four and Five"). In a sound world where texture plays the same role as melody and harmony balance offers a kind of freedom to roam that would never be extended otherwise, such as on the flamenco-tinged "Blues For." After five recordings, the artist seems to have finally found his compositional voice -- his solo voice was well established more than a decade ago -- and his authority as a bandleader is more forceful because he is so much less autodidactic. Four and Five is his finest moment yet; it reveals a new Jon Lloyd: a jazz force to be reckoned with and learned from. ~ Thom Jurek, All Music Guide
Jon Lloyd
Name: Jon Lloyd
Decades Active: 1990,2000
Genre: Jazz
Styles: Avant-Garde Jazz, Free Jazz, Post-Bop
British alto/soprano saxophonist Jon Lloyd rose to become a notable free improviser during the '90s, able to balance high-energy blowing with more subtly nuanced playing; he was also a capable composer, largely in the free-bop mode, able to give his pieces a definite structure while leaving plenty of room for improvisation. Lloyd got his start in free jazz during the '80s with the LFG Trio, and went on to found the nonet Anacrusis (with Evan Parker) and the Extempore Saxophone Quartet (with John Butcher); he also worked with vocalist Vanessa Mackness. He formed a touring quartet with the members of the trio Atlas (pianist John Law, bassist Paul Rogers, and drummer Mark Sanders), which backed Lloyd on his debut album for Leo, the 1990-recorded Syzygy. In 1991, sponsored by Britain's Arts Council, Lloyd toured England with violinist Phil Wachsmann; two years later, Lloyd embarked on another Arts Council tour with his quartet, which produced the Leo live album Head (recorded in London and Sheffield). Lloyd toured with pianist Pat Thomas in 1995, but Law was back for the 1996 session By Confusion, though bassist Rogers was replaced by Tim Wells. Seeking a musical change of pace, Lloyd next formed a sextet featuring trombone, violin, and cello, which gave him an opportunity to experiment with texture and greater structure; the ensemble debuted on record with 1997's Praxis, on Future Music. Lloyd kept cellist Stan Adler around for a new quartet with bassist Marcio Mattos and drummer Paul Clarvis, which recorded Four and Five for hatHut in 1999. In 2000, Lloyd began composing works for string quartet, and also became a member of John Law's Abacus quartet. Attempting to blend the improvised energy of his early quartet with the compositional sophistication of his sextet, Lloyd next formed a quintet featuring Adler, Law, Clarvis, and trombonist Chris Webster, which toured in early 2002. ~ Steve Huey, All Music Guide |
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