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2 x CD |
Kérjen
árajánlatot! |
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| 1. CD tartalma: |
| 1. | Forest Flower
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| 2. | How Can I Tell You ?
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| 3. | Little Peace
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| 4. | Bizzare
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| 5. | Days Of Wine And Roses
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| 6. | Sweet Georgia Bright
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| 7. | Love Song To A Baby
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| 8. | Ol Five Spot
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| 2. CD tartalma: |
| 1. | Island Blues
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| 2. | Carcara
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| 3. | Long Time, Baby
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| 4. | East Of The Sun (And West Of The Moon)
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| 5. | Love Theme From In Harm Sway
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| 6. | Sun Dance
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| 7. | You Know (From Ecco)
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| 8. | One For Joan
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| 9. | Freedom Traveler (Part I-Prayer) (Part II Journey)
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Jazz
Memphis, Tennessee. Was the place where Charles Lloyd, one of the great jazz saxophonists, was born. And where music got right into his soul. Lloyd's credentials are impressive on all counts. Shortly after graduating from the University of Southern California in 1960, he joined the Chicago Hamilton Quintet. In late 1961, Chico broke up the group and reorganised it with Charles as musical director in charge of repertoire and personnel. As an instrumentalist, Charles Lloyd is forceful and imaginative improviser with a warmly rich tone and a technical command enabling him to cut loose with an emotional abandon that nevertheless remains in control. As a composer, he combines the gift for melodic development and structural form with that invaluable quality of identifiability. Once you have heard a few Lloyd compositions, you will recognize his personal stamp, just as one can spot a new composition by, say, Thelonious Monk.
'Nirvana', is perhaps the finest album from the Charles Lloyd Quartet following on from 'Discovery! His band at the time was a spread of true giants. On piano there was Keith Jarrett, on bass there was Ron McClure and drums one Jack De Johnette. It was an impressive conglomeration and counterbalance of ability. But it was most decidedly led by Lloyd.
While the Charles Lloyd Quartet had more significant commercial success with other albums, there is a strong case to be made that they were never better than here. This is inventive, accessible, yet also has a depth and range that proved it could appeal to the traditionalists while at the same time attracting a younger audience, one that didn't want to hear old school jazz, but wanted something that allowed them to get 'high' on the music. This was it.
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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