Charles Lloyd - The Sky Will Still Be There Tomorrow

March 18, 2024

Label: Blue Note Records, 2024

Personnel - Charles Lloyd: saxophones, flutes; Jason Moran: piano; Larry Grenadier: double bass; Brian Blade: drums.

In The Sky Will Still Be There Tomorrow, the unmistakable, soulful sound of saxophonist Charles Lloyd resonates through the exquisite tapestries crafted by his quartet mates: pianist Jason Moran, bassist Larry Grenadier, and the newly joined, seasoned drummer Brian Blade. This double-disc release epitomizes a remarkable convergence of advanced musical minds.

“Defiant, Tender Warrior” opens the album in a relaxed, breathable 4/4 tempo, marveling at its vamping spiritual melody while Blade’s radiant percussive moves show to be a wonderful fit. Moran brings shuffling, harmonically vivid pianism into “Monk’s Dance”, Lloyd’s homage to the late Thelonious Monk, navigating a modern stride before launching an assertive solo over a swinging progression. Moments before, Lloyd had showcased his potential for fresh discoveries, employing his signature style phraseology pelted with sublime arpeggio coloration.

In the duo performance of “Lift Every Voice and Sing”, a Black hymn dating back to 1900 by J.W. Johnson, Lloyd and Moran achieve ecstatic catharsis through their lyrical interplay and responsive dynamics. “Booker’s Garden”, dedicated to saxophonist Booker Little, features dulcet flute filigree, molding into a gentle spiritual dance. On “The Ghost of Lady Day”, the iconic jazz singer Billie Holiday is honored in a sweetly lazy affair played with a nocturnal rubato before veering into expressionist avant-garde territory. Strangely, it oozes emotional intensity and intriguing mystery.

Another rubato peregrination, “Sky Valley, Spirit of the Forest”, seems indifferent to form but meticulous in tone, traversing from vagueness to illumination. The title cut stands as a program highlight, with Lloyd’s tenor sax swooping and soaring - both in and out of focus - over Blade’s sharp reflexes. The entrance by Moran is out of this world, and the communication proceeds with as much distinction as logic. There’s also a gospelized piano passage and a fading vamping groove that leads to the ending.

“Cape Cairo”, an older tune retrieved from Lloyd’s cherished album All My Relations (ECM, 1995), emerges as another favorite, with the rhythm section conjuring hair-raising dreamlike tones as Lloyd's saxophone weaves an enchanting melody from start to finish. Charles Lloyd, a living jazz legend, showcases a sophisticated hybrid of post-bop, spiritual energy, and eclectic avant-garde jazz, producing another extraordinary album destined to be included on numerous ‘best of’ lists.

Favorite Tracks:
01 (CD1) - Defiant, Tender Warrior ► 03 (CD1) - Monk’s Dance ► 08 (CD1) - The Sky Will Still Be There Tomorrow ► 06 (CD2) - Cape Cairo

Charles Lloyd - Trios: Ocean

September 26, 2022

Label: Blue Note Records, 2022

Personnel - Charles Lloyd: tenor saxophone, flute; Gerald Clayton: piano; Anthony Wilson: guitar.

The second installment of Charles Lloyd’s Blue Note trio series is here, pairing up the legendary saxophonist with a regular collaborator, pianist Gerald Clayton, and a new associate, guitarist Anthony Wilson. Although Trios: Ocean doesn’t pack a wallop like the inaugural chapter did (Trios: Chapel features guitarist Bill Frisell and bassist Thomas Morgan), it still contains some precious moments that allow you to recognize Lloyd’s top form at 84.

Over the course of four Lloyd originals recorded during pandemic times, they navigate breezy and moderately churning waters with a serious, sensible perspicacity. The get-go “The Lonely One” is immersed in introspection and denotes quiet lyricism, making the transition to “Hagar of the Inuits” in a way that puts the listener on the lookout for something undemanding but sophisticated. In the latter piece, strong folk undertones are loosely thrown in by Lloyd, who stresses his style and spirit by conjuring some other pieces he wrote. We can hear fragments of the marvelous “Dream Weaver”, with Clayton and Wilson first responding with staccato accents in the accompaniment and subsequently finding their own way to interact without messing with each other’s ideas. Their respective solos are underpinned by smooth swing as well as firm pedal points.

The blues in the hands of Lloyd always has a special meaning, and that’s the case with “Jaramillo Blues”, a dedication to painter Virginia Jaramillo and her sculptor husband Daniel Johnson. The sweet, drifting sound of Lloyd’s flute finds Clayton’s melodic finesse and harmonic range, while Wilson opts to cook up something slowly and precise before expanding boundaries with one foot in and the other out.

The record comes to an end with the smooth vibes of “Kuan Yin” (the Chinese goddess of compassion and kindness), which, being seductively balanced in its underlying groove and texture, has Lloyd stirring up emotions at every move on the tenor. His mystic language stimulates Wilson for a remarkable guitar unfolding as well as Clayton, whose tonal riches take the song to a conclusion.

Favorite Tracks:
02 - Hagar of the Inuits ► 04 - Kuan Yin

Charles Lloyd - Trios: Chapel

June 20, 2022

Label: Blue Note Records, 2022

Personnel - Charles Lloyd: tenor saxophone, alto flute; Bill Frisell: guitar: Thomas Morgan: acoustic bass.

The unequal Charles Lloyd, a premier saxophonist with a six-decade career at the highest level, puts out the first of three trio recordings featuring different lineups. Trios: Chapel features five previously recorded tunes - three originals and two covers - marvelously reworked here by a refreshing trio completed with guitarist Bill Frisell (a member of Lloyd’s eclectic quintet The Marvels) and bassist Thomas Morgan, who has been a regular collaborator of the guitarist both in duo and trio settings. The tremendous rapport between these three instrumentalists couldn’t be more transparent and the music is the natural product of their musical talents.

Billy Strayhorn’s “Blood Count” opens the set with Lloyd speaking an alluring language whose empathy extends to Frisell’s serene comp and focused touch. Guitar layers merge with Morgan’s activity on the bass, which, going beyond the mere definition of the chords, provides a tasteful anchor for the saxophone. This piece was originally recorded by Lloyd on the double-CD album Lift Every Voice (ECM, 2002), just like his own “Beyond Darkness”, a flute-driven excursion that soars here with chordal mystery and a curious cross-cultural tinge.

Exuding goodwill and enchantment, “Song My Lady Sings” was retrieved from his 1965 quartet album Of Course, Of Course (Columbia). Working closely, the guitarist and the bassist start the proceedings with a warm, glowing radiance that later welcomes the mighty presence of the bandleader. His sweetest side is on display throughout this waltzing stride, but goes even deeper in the magnetic exploration of Bola de Nieve’s Cuban ballad “Ay Amor”, a tune that was also included in his latest album with The Marvels, Tone Poem (Blue Note, 2021). The simple delineation of the theme is remarkable, with Lloyd making everything more luminous with nimble arpeggios. The rock-solid Morgan lets it flow from the bottom while Frisell excels in his melodic poignancy.

The trio concludes the album with the beautiful “Dorotea’s Studio”, which refers to the working space of Lloyd’s wife/agent/producer Dorothy Darr. The folk expressiveness will treat you with a complete relaxation. I’m very much looking forward to the couple of volumes that will follow - the second featuring pianist Gerald Clayton and guitarist Anthony Wilson, and the third with percussionist Zakir Hussain and guitarist Julian Lage.

Favorite Tracks:
03 - Ay Amor ► 04 - Beyond Darkness ►05 - Dorotea’s Studio

Charles Lloyd and The Marvels - Tone Poem

March 2, 2021

Label: Blue Note Records, 2021

Personnel - Charles Lloyd: tenor saxophone, flute; Bill Frisell: guitar; Greg Leisz: pedal steel guitar; Rueben Rogers: bass; Eric Harland; drums.

The incredible Charles Lloyd, 82, has in Tone Poem his third work with The Marvels, a piano-less ensemble composed of Bill Frisell on guitar, Greg Leisz on pedal steel guitar, Rueben Rogers on bass and Eric Harland on drums. On this recording, the sui generis sound and approach of the saxophonist are fully intact and in perfect balance with the bluesy and folk intonations of the band that supports him. The program consists of a mouth-watering selection of originals and covers, which pivoting between contemplation and ecstasy, achieve wonderful results.

Lloyd initiates this journey by stamping his personal signature in two notorious compositions by Ornette Coleman - “Peace”, which carries an offbeat avant-country vibe while embracing the spiritual side of things, and “Ramblin’”, a static delight made of hypnotic drumming, chromatic bass moves, and rock’n’roll-ish guitar continuum adorned with bluesy chops, over which cascades of lyrically kinetic tenor lines are thrown in abundance.

The group airs a folk-pop melancholy while driving Leonard Cohen’s “Anthem” with a slow yet assured pace, while on the romantic “Ay Amor”, penned by Cuban singer/pianist Bola de Nieve, Lloyd and Frisell have the power to stun and petrify, such is the beauty of their expressions. The final two-chord vamp in this piece feels like a slow motion of “Tone Poem”, a prominent Lloyd piece where the saxophonist careens off modal avenues with astonishing brilliancy. Although less fervent in comparison with that unforgettable 1985 Town Hall interpretation (in a quartet with Petrucciani, McBee and DeJohnette) for the jazz film One Night with Blue Note, this new exposition of the song oozes groove and denotes subtle nuances in the melody in addition to an introductory sax/percussion ramble.

Having been included on the previous outing - Vanished Gardens (Blue Note, 2018) - as a duet with Frisell, “Monk’s Mood” is revisited here with sculptural layers of guitar and a full rhythm section. Two other previously recorded pieces to appear on the track listing - “Lady Gabor” and “Prayer” - were tackled by the Chico Hamilton Quintet, of which Lloyd was a member in the 1960’s. The former number, ecstatically percussive, surfaces with flute articulation and guitar atmospherics with episodic rock washes; the latter emits a warm glow and features a fine arco bass statement.

A new Lloyd blues, “Dismal Swamp”, works as a dulcet yet stimulating tonic where flute-guitar unisons follow a path through the functional light-funk area defined by the rhythm.

With a consummate ability to touch our hearts and speak to all of us through his majestic music, Charles Lloyd has here his best recording with The Marvels and another timeless work to be cherished.

Favorite Tracks:
02 - Ramblin’ ► 04 - Ay Amor ► 07 - Lady Gabor

Charles Lloyd & The Marvels + Lucinda Williams - Vanished Gardens

August 8, 2018

Label: Blue Note Records, 2018

Personnel - Charles Lloyd: tenor saxophone, flute; Lucinda Williams: vocals; Bill Frisell: guitar; Greg Leisz: pedal steel guitar and dobro; Reuben Rogers: bass; Eric Harland: drums.

Exceptional saxophonist Charles Lloyd reconnects with The Marvels - Bill Frisell on guitar, Greg Leisz on pedal steel guitar and dobro, Reuben Rogers on bass and Eric Harland on drums - in order to release their conjoined sophomore album, Vanished Gardens, on the Blue Note imprint. For this work, the band summoned singer/songwriter Lucinda Williams, who lends her voice to half the tunes on the ten-track album.

Among the songwriting credits for this work we find not only Lloyd and Williams but also Jimi Hendrix, Thelonious Monk, and Tommy Wolf/Fran Landesman. The latter’s “Ballad of the Sad Men”, a tune popularized by Roberta Flack and instrumentally rendered by Keith Jarrett, is amiably cooked with Lloyd jumping in halfway to blow our minds with his sui generis vocabulary. This strategy is also put into effect on “Monk’s Mood”, a marvelous duet with Frisell, who prepares the ground for the saxophonist’s musical enlightenment with a relaxed introduction. This song is the closest they get to jazz since the project’s philosophy falls more into a blend of country, folk, blues and rock genres.

Take Lloyd’s brand new “Defiant”, for example. Molded as a country jazz song, it explores the lyrical quality of the melody with reflexive intuition, taking us to vast green landscapes swept by a smooth, breezy wind. If the sturdiness of Rogers’ bass lines feels great with the guitars soaring atop, then the title track pushes us to more explorative adventures. An effect-infused guitar riff borrows some influence from traditional Japanese and electronic music alike, while the band interlocks it with a country-rock tinge. Lloyd breaks free with avant-garde ambiguity and flanked by a compound of stellar riffs and voicings on top of a static rhythm. After flickering guitar waves and a rhythmic decrescendo, he concludes the tune alone.

Sporting interesting timbral idiosyncrasies, Williams is confident and strong on “Dust”, an original in which she shows off brittle and compact tones in the lower and higher registers, respectively. While she sings with deep sentiment, we occasionally hear Lloyd’s fills in the background. He phrases with elliptical elasticity, fervor and sophistication. Also from Ms. Williams’ repertoire we have “Ventura”, a Tom Waits-esque 4/4 pop song; “We’ve Come Too Far To Turn Around”, a 3/4 country pop tune with introductory Eastern sounds by Lloyd; and “Unsuffer Me”, which recalls the demonstrative country rock style of Patti Smith, here delivered with a bluesy feel.

The album is complete with one of those magnificent flute-driven blues by Lloyd, “Blues For Langston and LaRue”, and a soulful rendition in trio of Jimi Hendrix’s “Angel”, beautifully sung by Williams and adapted to befit her style.

Drawing inspiration from the roots of American music, the band effortlessly coat these songs with a charming charisma. With The Marvels establishing an unshakable bridge between styles, Lloyd/Williams collaboration is indeed successful.

Favorite Tracks:
01 - Defiant ► 03 - Vanished Gardens ► 09 - Monk’s Mood

Charles Lloyd New Quartet - Passin Thru

August 14, 2017

Label/Year: Blue Note, 2017

Lineup – Charles Lloyd: saxophone, flute; Jason Moran: piano; Reuben Rogers: bass; Eric Harland: drums.

At the age 79, spectacular saxophonist Charles Lloyd keeps wielding the same impactful language and elegant expressiveness that assured him a prominent place in the history of jazz.

The long-awaited successor of the amazing Wild Man Dance (Blue Note, 2015), Passin’ Thru, encompasses old and new material in a total of seven ravishing long tracks that match very much his own style.

The album is another Blue Note Records outing and marks the 10th anniversary of Mr. Lloyd's new quartet, now with Jason Moran on piano, Reuben Rogers on bass, and Eric Harland on drums.

Lloyd re-examines the highly celebrated “Dream Weaver”, first recorded in 1969, with spiritual incisiveness and renewed harmonic intensity. His dramatic timbral interchanges combine wonderfully with Moran’s flurries in a mystifying, beautiful intro, where Rogers and Harland remain focused and connected. After a while, one can easily notice that catchy riff and seductive rhythm that made this tune so known and gracious in its sparkling danceability.

“Part 5, Ruminations”, one of the new compositions, feels quite loose as the quartet adapts to an unsettled route that makes a gradual detour into a pleasant swing. This ultimate cheery mood galvanizes the bandleader and Moran for another pair of striking improvisations.

The remaining new compositions take different orientations under Lloyd’s monstrously compelling power of speech, which varies from contemplative and affectionate to exultant and entrancing. The newest creations are “Nu Blues”, which carries a positive bop vibe due to its musical nature, “Tagore on the Delta”, which is nothing else than a decorative, far-flung, groovy fusion marked by the lightness of Lloyd’s flute over strummed piano strings, funk-oriented bass licks, and undemanding percussion attacks, and the closing piece, “Shiva Prayer”, a poignant meditation written for the late Judith McBean that features wet mallet drumming, deep bowed bass, and dreamy piano voicings.

Completing the roster, we have “How Can I Tell You”, an optimistic, heartfelt ballad that haunts, gazes at the infinite, and rejoices all at the same time, and "Passin' Thru", introduced by Rogers’ expressive pizzicato and exhibiting brisk melodies over a frantic rhythm. The former was first recorded on the album Discovery! in 1964 while the latter saw the daylight in 1963 when Lloyd was still a member of the Chico Hamilton Quintet.

Equal to himself, Lloyd never ceases to amaze. He takes advantage of the strong bonds established by the members of the quartet and throws in his limitless instrumental resources to envelop the world with bliss. Insightful, exciting, prayerful, genuine… ladies and gentlemen… my dearest saxophonist, Charles Lloyd, has a great new album.

Favorite Tracks:
01 - Dream Weaver ► 04 - How Can I Tell You ► 05 - Tagore on the Delta