Jon3 1.viii.11 Charles LLoyd

[aka Calum Da Jazbo]

Jez Nelson presents a second chance to hear saxophonist Charles Lloyd and his quartet at last year's London Jazz Festival, this time broadcasting the complete performance. Lloyd's 2010 album, Mirrors, was acclaimed as a highlight of his 40-year career and this concert, coming just a few weeks after its release, lived up to expectations. His new quartet, featuring Jason Moran, one of the premier pianists of his generation, drummer Eric Harland and bassist Reuben Rogers, is possibly Lloyd's finest since his seminal 1960s group with Jack DeJohnette, Keith Jarrett and Cecil McBee.

Moran may well be of more interest ... Lloyd lost me in the 60s [hippies? ...nah]

[Alyn_Shipton]

Without in any way casting aspersions on Jo3's opinion of CL's recent/current quartet, I'd have to say his 1999/2000 band with John Abercrombie, Larry Grenadier and Billy Higgins is the best of his post 60s groups (I think they recorded with Brad Mehldau added as well). I heard them in Chicago and they were stunning. But the Stenson/Jormin/Hart band which I introduced from the RFH in 98 for R3 was also excellent, as was the 2002-4 edition with Geri Allen. Having now heard the Moran edition of the quartet a few times in concert (and a duo concert with the two of them as well) I feel they have a tendency to go on a bit. No self-editing button...

[Ian Thumwood]

Alyn

I would be interested to have your take on Lloyd's alto playing. One of my friends is a massice Charles Lloyd fan and I therefore tend to get loaned each ne album to listen to as they come out. They have all been of an amazing high standard and Lloyd's choice of pianists always seem inspired. Lloyd has started to feature his alto playing on the latest record and I was shocked at how bad his tone is. I think he has always had an issue with intonation on the tenor albeit the level of creativity has meant this is something I was always prepared to overlook. The fact that he also doubled on so mnay other , oscure instruments also assisted with my appreciation. However, his alto playing is, in my opinion, horrible and so bad that I am convinced that if a younger musician had produced something so poor he would be slated. I was staggered that ECM put this record out.

[Serial_Apologist]

Alyn

I would be interested to have your take on Lloyd's alto playing. One of my friends is a massice Charles Lloyd fan and I therefore tend to get loaned each ne album to listen to as they come out. They have all been of an amazing high standard and Lloyd's choice of pianists always seem inspired. Lloyd has started to feature his alto playing on the latest record and I was shocked at how bad his tone is. I think he has always had an issue with intonation on the tenor albeit the level of creativity has meant this is something I was always prepared to overlook. The fact that he also doubled on so mnay other , oscure instruments also assisted with my appreciation. However, his alto playing is, in my opinion, horrible and so bad that I am convinced that if a younger musician had produced something so poor he would be slated. I was staggered that ECM put this record out.

I've personally not heard CL's alto playing yet, but what you say Ian doesn't surprise me.

Paul Dunmall went through a period when he was playing occasional alto a few years ago, and while I was astonished at how he played like he'd played the instrument all his life, iirc he did say the technique was similar to that used on the tenor. However I did notice that his tone was undistinguished. I diplomatically pointed out at the time that it was unusual for a tenor specialist to play alto - tenorists normally opting for the soprano as second choice. (Altoists seem to double on baritone - Chris Biscoe being a prime example in the UK). As if answering my tactfully unanswered question Paul then said he didn't intend playing much alto in the future.

Charles Lloyd covers a very wide pitch range on his tenor, even by comparison with other well-known saxophonists. Personally I love the sensuous, almost feminine aspect of his tenor playing. He's not at all given to grandstanding, either when performing or in terms of his personality. If the ECM album fails to sell as well as his usually do I think he would take heed. I shall be interested to hear him on alto.

S-A

[Ian Thumwood]

The previous record with Moran was very good as was the disc with the two drummers - one of which was Eri Harland who is a terrific musician in my opinion. I saw his quartet with Geri Allen in France and enjoyed this but it was more for the work of the pianist who I think was fantastic. One of my good friends out there, who is a drummer who had worked with the likes of Nathan Davis and Hank Mobely, was extremely generous in his praise for this band at the time. This year he had the drummer Herlan Riley visit his appartment and play his drumset which was something I wished I had seen - he was also very enthusiastic about that musician but can equally be very perceptive with musicians / bands that he feels are really doing "the business." Of all the bands I've seen out in France, the only groups I've heard him praise any more than Lloyd's quartet was Maria Schneider's big band.

For my part, I missed the "hippy" movement and therefore tend to associate Lloyd more for the stream of quality records he has churned out for ECM. Other than the likes of Jarrett ,Abercrombie and perhaps Ralph Towner, I think few people have been as consistent for Manfred Eicher than Lloyd. Granted he is taking his cues from Coltrane (at a time where this saxophonist's influence is becoming less and less) , the music is definatley happening and, judging by comments by Jason Moran in a recent interview I read, probably to a degree that is not immediately apparent to the casual listener. Definately worth exploring and setting aside any reservations you may have, I would have thought.

[Serial_Apologist]

The previous record with Moran was very good as was the disc with the two drummers - one of which was Eri Harland who is a terrific musician in my opinion. I saw his quartet with Geri Allen in France and enjoyed this but it was more for the work of the pianist who I think was fantastic. One of my good friends out there, who is a drummer who had worked with the likes of Nathan Davis and Hank Mobely, was extremely generous in his praise for this band at the time. This year he had the drummer Herlan Riley visit his appartment and play his drumset which was something I wished I had seen - he was also very enthusiastic about that musician but can equally be very perceptive with musicians / bands that he feels are really doing "the business." Of all the bands I've seen out in France, the only groups I've heard him praise any more than Lloyd's quartet was Maria Schneider's big band.

For my part, I missed the "hippy" movement and therefore tend to associate Lloyd more for the stream of quality records he has churned out for ECM. Other than the likes of Jarrett ,Abercrombie and perhaps Ralph Towner, I think few people have been as consistent for Manfred Eicher than Lloyd. Granted he is taking his cues from Coltrane (at a time where this saxophonist's influence is becoming less and less) , the music is definatley happening and, judging by comments by Jason Moran in a recent interview I read, probably to a degree that is not immediately apparent to the casual listener. Definately worth exploring and setting aside any reservations you may have, I would have thought.

Yes I saw the two-drums band at the Barbarism 3 (?) years ago and was v impressed. Geri Allen seem to have gained renewed energy of late, after having gone through a fallow period, when to me she stopped being herself and seemed to want to cover other musicians' approaches.

Yes Ian - you would have been hardly more than a twinkle in your father's eye, back in the "hippy era"