The Charles Lloyd New Quartet
Live at The Rose Theater
at Jazz at Lincoln Center
New York, NY USA
2011-01-29

As broadcast live over 88.3 WBGO-FM Newark, NJ USA

Lineage:
WBGO-FM > ADCOM GTP-450 Tuner > Edirol R-09HR (44.1/16) >
Sony Soundforge 10 > FLAC level 6 aligned on SB

Capture and transfer by beatpop.
Posted February 2011.

Setlist:

01 - Radio Intro by Rhonda Hamilton and Mark Ruffin (0:50)
02 - Prayer (11:27)
03 - I Fall in Love Too Easily (9:01)
04 - Prometheus (18:07)
05 - Go Down Moses (8:41)
06 - Caroline, No (14:38)
07 - Passin' Thru (10:51)
08 - La Llorona (16:01)
09 - Lift Every Voice and Sing (4:23)
10 - Tagi (9:28)
11 - Radio Outro by Rhonda Hamilton and Mark Ruffin (1:58)


Total Running Time: 1hr 45m 31s


Personnel:

Charles Lloyd - tenor sax
Jason Moran - keyboards
Reuben Rogers - bass
Eric Harland - drums
Alicia Hall Moran - guest vocalist

Band info:
http://www.charleslloyd.com/
http://www.jasonmoran.com/
http://www.reubenrogers.com/
http://www.iharland.com/

Radio Credits:
Broadcast directed by: Simon Rentner
Executive Producers: Trinity Colon, Thurston Briscoe III
Engineers: Rob Macomber, David Tallacksen
Special Thanks to: Cat Henry, Linda Herb, Alex and Adrienne Ellis,
and the staff at Jazz at Lincoln Center.

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Review in The New York Times:

http://www.nytimes.com/2011/01/31/arts/music/
31jalc.html?_r=1&scp=1&sq=charles%20lloyd&st=cse

January 30, 2011

Slow and Roomy, With Space for Contemplation
By BEN RATLIFF

Charles Lloyd’s name alone might sell tickets as a symbol of integrity
and spiritual health and every-man-has-his-season. A saxophonist and
bandleader, he was a friendly and popular face of post-Coltrane jazz
in the 1960s. Then he retreated for much of the next two decades, and
came out the other side an elegant older man with a stronger,
softer art.

But for anyone who listened hard enough to his concert at the Rose
Theater on Saturday night, he was indivisible from his band.

Mr. Lloyd, now 72, is famous for having good bands. He hired Keith
Jarrett and Jack DeJohnette before they were famous, and since
restarting his career in earnest in the late 1980s, he has led one
impressive group after another. (He really did lead them: He’s a
meditative musician, light-toned but intense, who knows how to spread
his patience around.)

But his New Quartet, active since 2007, is a different order of good.
It has its own personality. It could spin off and stand on its own.
The pianist Jason Moran and the drummer Eric Harland have known each
other since high school, and the bassist Reuben Rogers has been moving
alongside them in New York’s jazz scene since the late 1990s. All in
their mid-30s, they have their own language, articulate and intimate,
itchy and soulful and often thrilling; it pours and pours and never
goes dry.

Much about Mr. Lloyd’s performance — his seven-grain tenor-saxophone
tone, his restricted little slides and flurries through a melody, his
preference for slow music — tells you that he doesn’t get much joy out
of wasted energy. Consequently, on Saturday his band played with
presence and care. Mr. Harland, one of the best drummers you’ll hear
in jazz right now, acted as a clarifying force, articulating all his
tiny strokes and clicks, whether in free or patterned rhythms. Mr.
Moran, adept at the psychological tricks of jazz improvising —
controlled dissonance, tension-and-release, building and withholding
momentum — engaged the band and audience with his solos but didn’t
turn them into mere virtuosity. And Mr. Rogers boomed out his sound
with bow and fingers, working to glue everything together.

The quartet played a set drawn heavily from its new album, “Mirror”:
mostly slow and roomy chunks of music, the better for Mr. Lloyd to
wander the stage and encourage his band. It included a rapturous
version of the Beach Boys’ “Caroline, No,” and a couple of songs that
seemed to call for singing. For this concert, as with one at Wesleyan
University two nights earlier, the group came with a fifth member, the
operatic soprano Alicia Hall Moran, Mr. Moran’s wife. She sang
“Go Down Moses” and “Lift Every Voice and Sing,” strong and controlled
and complete. (Mr. Lloyd asked the audience to stand for
“Lift Every Voice,” but he allowed sitting. “I was old once, too,”
he said.)

For its last encore, the band played through the final track on “Mirror,”
a piece that would seem to upend the quartet’s special cohesion.
Mr. Lloyd, who had played only the tenor saxophone, despite the presence
of his two other instruments, flute and tarogato (a relative of the
clarinet), sat on the piano bench next to Mr. Moran, playing watery
figures on the keyboard’s upper half, and quietly intoned passages from
the Bhagavad Gita. (Among them were thoughts applicable to this group
and this music: “Water flows continually into the ocean/but the ocean
is never disturbed:/Desire flows into the mind of the seer/but he is never
disturbed.”) Mr. Rogers played bowed long notes. Mr. Harland put his
drumsticks down and hummed deep tones into a microphone. It was nothing
like jazz, but was as durable as anything else played that night.


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