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

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