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| 6.897 Ft
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| 1. | I Fall in Love Too Easily (For Lily)
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| 2. | Go Down Moses
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| 3. | Desolation Sound
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| 4. | La Llorona
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| 5. | Caroline, No
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| 6. | Monk's Mood
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| 7. | Mirror
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| 8. | Ruby, My Dear
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| 9. | The Water Is Wide
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| 10. | Lift Every Voice And Sing
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| 11. | Being And Becoming, Road To Dakshineswar With Sangeeta
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| 12. | Tagi
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Jazz
Recorded December 2009
Charles Lloyd tenor, alto saxophone, voice
Jason Moran piano
Reuben Rogers double-bass
Eric Harland drums
Charles Lloyd has always led exceptional bands, and this is one of the finest. Following on from the live "Rabo de Nube" which won both the Readers and Critics Polls of Jazz Times, here is a studio album from the quartet with Jason Moran, Reuben Rogers and Eric Harland. Familiar material is reappraised and transformed in this session recorded in California in December 2009. Tracks include new versions of "Desolation Sound", "Go Down Moses", "Lift Every Voice", and "The Water is Wide". There are also a couple of superb Thelonious Monk covers, "Ruby, My Dear" and "Monks Mood" and a beautiful, free arrangement of the Beach Boys' "Caroline No". Throughout, the interaction between piano, bass and drums is fleet and fluid: Lloyd's saxophones float poetically above it.
"Charles is playing really beautiful," Ornette Coleman says, in the documentary film "The Monk and the Mermaid". "He's expressing the qualities of what we experience. Trying to make a contribution to the quality of life, to do with knowledge." The knowledge, experience, or wisdom conveyed through Lloyd's tender saxophone soliloquies has drawn great musicians to him over the decades, and contributed to a reputation as one of the most insightful band leaders in all of jazz. Those qualities are reflected once more in "Mirror", which is perhaps as succinct a portrait of Charles Lloyd's music as can be embraced by a single disc.
"Charles approaches the music with such openness", pianist Jason Moran said recently. "I like playing with leaders who let you bring what you've got to the table, and interpret the music however you'd like. Charles is a great promoter of free-thinking music, and letting it develop on the spot."
"Mirror" is the first studio album by the Lloyd-Moran-Rogers-Harland unit and it features beautiful, transformed versions of favourites including both Lloyd originals and tunes Charles has made his own over the years. There is a pair of Thelonious Monk tunes, "Ruby, My Dear" and "Monk's Mood", as well as hymns and traditionals including "Go Down Moses", "Lift Every Voice And Sing", and "The Water Is Wide". Lloyd covers Brian Wilson's' "Caroline, No" (the saxophonist guested on several Beach Boys albums in the 70s, including the classic "Surf's Up"), and plays an achingly lovely version of the standard "I Fall In Love Too Easily". Lloyd originals include "Desolation Sound", "Mirror", "Tagi" (which includes a Bhagavad Gita-inspired spoken-word meditation by Lloyd) and "Being and Becoming".
There is plenty of Lloyd's graceful, mellifluous and poetic tenor sax: We also get to hear some of his rarely-showcased alto saxophone, the instrument that Billy Higgins called Charles's "secret weapon".
Many critics have opined that Lloyd's "New Quartet", with Jason Moran, Reuben Rogers and Eric Harland may be the best of all his groups. The quartet's previous release in this line-up, the live-recorded "Rabo de Nube", met with across-the-board approval and was voted #1 album of the year in both the Critics and Readers Polls of Jazz Times.
The band plays superbly. Interaction between Jason Moran and the elastic rhythm section of Harland and Rogers is agile and alert in every moment. None of these three players, completely in tune with Lloyd's way of working, was born when Charles had his idiomatic breakthrough with "Forest Flower" in 1967. Moran recalls that his father encouraged him to listen to "Forest Flower" when he was just starting to check out jazz, and the album was part of the soundtrack of his childhood.
Reuben Rogers was born in the Virgin Islands and grew up listening to calypso and reggae as well as jazz, exposure that seems to have impacted on the lyrical dancing swing of his bass playing. He works exceptionally well with Harland , exploring loose grooves behind Lloyd 's solos, and speaks of the joy of "being in the music in the moment," when the Lloyd band is improvising collectively, "without any worries, just giving it all." A much sought after sideman, Reuben has also worked extensively with Nicholas Payton, Joshua Redman, Dianne Reeves and more.
Eric Harland is increasingly regarded as one of the most important contemporary jazz drummers. In addition to his work with Lloyd in the quartet and in the Sangam trio (with Zakir Hussain) he has played and recorded with McCoy Tyner, Pharoah Sanders, Greg Osby, Dave Holland and many others.
Charles Lloyd
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Mar 15, 1938 in Memphis, TN
Genre: Jazz
Styles: Avant-Garde Jazz, Crossover Jazz, Hard Bop, Jazz Instrument, Post-Bop, Saxophone Jazz
During 1966-1969, Charles Lloyd led one of the most popular groups in jazz, a unit that played at the rock palace Fillmore West in San Francisco and toured the U.S.S.R. Lloyd's music, although generally a bit melodic, was not watered-down and managed to catch on for several years during a time when jazz was at its low point in popularity.
Lloyd played locally in Memphis (including with B.B. King and Bobby Blue Bland) and then in the mid-'50s moved to Los Angeles to attend USC. During his six years in L.A., he gigged around town and played alto with Gerald Wilson's Orchestra. In 1961 he joined the Chico Hamilton Quintet on flute and tenor, making his recording debut and gaining a strong reputation. During 1964-1965, he was with the Cannonball Adderley Sextet and then in mid-1965 formed his own group. By 1966, the Charles Lloyd Quartet included Keith Jarrett, Cecil McBee (who was later succeeded by Ron McClure), and Jack DeJohnette and the band was the hit of the 1966 Monterey Jazz Festival, recorded steadily, toured Europe six times, and was remarkably popular. Lloyd, whose most famous composition is "Forest Flower," played tenor in a soft-toned version of John Coltrane, while his lyrical flute playing is more original. After his group changed personnel in 1969, Lloyd gradually faded out of music, becoming a teacher of transcendental meditation. The few records he made in the 1970s were quite spiritual and bordered on new age. However pianist Michel Petrucciani looked Lloyd up in the early '80s and persuaded him to return to active playing. For a period, Petrucciani was in his quartet. By the late '80s Lloyd had a new group with pianist Bobo Stenson, bassist Palle Danielsson, and drummer Jon Christensen that regularly recorded for ECM. Charles Lloyd, whose style remains virtually unchanged from the '60s, has recorded as a leader for Columbia, Atlantic, Kapp, A&M, Blue Note, and ECM.
---Scott Yanow, All Music Guide |
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