Since the 1960s, tenor saxophonist and flautist Charles Lloyd’s life has alternated between periods of musical and personal exploration. After spending a decade or so working as a sideman in different blues and jazz groups, Lloyd hit a goldmine of critical acclaim and popular support in with his quartet’s groundbreaking performance at the 1966 Monterey Jazz Festival (no small feat in a period when jazz’s audiences were largely moving in new directions). This particular group was notable not just for Lloyd’s debut as a fresh and exciting leader, but also because two of its members, Keith Jarrett and Jack DeJohnette, were themselves only a few years away from exploding as widely innovative and influential jazz musicians.
The quartet’s sound was directly related to, but far from being a simple copy of, that of John Coltrane’s legendary quartet. Lloyd’s voice on the tenor saxophone modified Coltrane’s far-reaching explorations into a more melodic framework; where Coltrane’s solos featured downpours of notes that continually challenged the listener’s concept of what jazz playing could be, Lloyd’s solos adopted many similar note motifs but condensed them into a more straight-ahead context. This combination defined Lloyd’s accessible yet still very creative playing, and allowed his groups to find a large and enthusiastic audience amongst jazz and even rock audiences.
In another similarity to Coltrane’s music, Lloyd gave his group a keenly spiritual focus, which may have made it unsurprising when Lloyd left the limelight for most of the 70s in order to teach meditation and pursue a life that reached beyond the public world of music. Ever since the early 80s, when pianist Michel Petrucciani brought him back into the mainstream jazz sector, Lloyd’s paths have intertwined and continue to enhance each other. The result is summed up by Lloyd himself, in an address on his website: “For me, the purpose of life is to know God and the struggle of spiritual life will go on as long as I have breath. The pursuit and the music are one.”
Now, decades later, Lloyd plays in a style that quickly recalls his earlier work, not to say that he has stagnated: on stage and on record, the life force in Lloyd’s music is as abundant as ever. He delivers his message through colorful, varied compositions that have grown out of musical styles from around the world and present fertile platforms for his improvisations. Their titles, such as “Migration of a Spirit” off of his 2008 live album Rabo de Nube and “Forest Flower,” his most well known piece, reflect his music’s organic nature.
Lloyd’s New Quartet is fortified with relatively young but well-established jazz musicians who are fully capable of sharing Lloyd’s pursuits. A leader in his own right, Jason Moran (piano) brings the group a unique, mature second lead voice. He’s one of those pianists who sometimes convince you that you’re listening to 80 years of jazz piano history rolled into one set of fingers. His heavy left hand will dabble in vintage 1920s stride playing right before flowing through a sequence that breaks into advanced Andrew Hill territory, while his frank, direct solos often develop in unpredictable turns that take full advantage his repertoire’s diverse influences.
On stage, when Lloyd himself isn’t soloing, he doesn’t just stand there; he frequently can’t resist dancing to the pulsing, breathing rhythms provided by his fellow musicians. Reuben Rogers (bass) and Eric Harland (drums/percussion) form a reliable, gregarious backbone that’s perfect for bringing the exotic structures in Lloyd’s compositions to life. Whether the tune is funky, swinging, Latin, or has no definable rhythm at all, the team decorates it with outbursts that always feel natural and appropriate.
While many musicians feel uneasy about maintaining a relatively unchanged general style throughout their careers, Lloyd is proud to display ongoing confidence in the same musical presence that he first exclaimed 40 years ago, one that he has purified and strengthened ever since. He knows that real art represents the artist’s personal journey; once you approach truth on the inside it will be all that comes out in the music. Charles Lloyd the man has grown a great amount over the years; he claims not to be very good at describing what he has discovered in words but Charles Lloyd the musician is perfectly capable of telling you all about it.
– Nathan Bluford
This event is sponsored by New Age Industries, a transportation industry consulting firm.
