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