Roma Jazz Festival : Charles Lloyd Trio
recorded at Jazz Club La Palma, Roma (ITALY), on wednesday 19 July 2006, 22:00 hours
Charles Lloyd: saxophones, pianoforte, flutes, tarogato, vocals
Zakir Hussain: tabla, vocals, percussion
Eric Harland: drums, pianoforte, percussion
here billed simply as Charles Lloyd Trio, this was later to be called the Sangam Trio, as the album of 2006, where Lloyd was practically playing world music with Zakir Hussain, who had lots of room for his tabla and vocals melodies. A triump of excellence that would be lined beside open mind jazzers as the Ethnic Heritage Ensemble withs Sanders or Barbieri... if not Micus...
Mind you, this starts very softly on the piano (lots of FM hiss on the background), and I dare you to find a proper tracklist, as pieces are somehow improvisations derived from some album tunes - but I certainly you would find Hymn To The Mother as well as Tales of Rumi. See album at the bottom of this page
NOTE: dimebot is not properly working, so cannot check if other versions were uploaded before, but this is from my own capture...
also currently seeded http://www.dimeadozen.org/torrents-details.php?id=356634
tracklist > running time 92'57"
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first track [23.49]
second track [9.40]
third track [4.25] drums solo
fourth track [6.21]
fifth track [7.51] tabla solo
sixth track [6.53]
seventh track [18.23]
>>>encores disc (kinda 20" missed at start)
first encore [4.46] Lady in The Harbour
second encore > radio outro [10.48]
track numbering jumps from 07 to 11 as encores were at the end of another CD...
FM radio broadcast by "Il Cartellone - Radio Tre Suite Jazz", Radio 3 RAI [third channell of Italian national radio], on tuesday 26 September 2006, 20:30 hours CET.
Lineage (FM > MiniDisc > CDR > flacs > web):
Sony ST-S370 tuner > Sony MDS-JE640 minidisc deck > [SP ATRAC3] minidisc master > digital optical cable > HHB CDR830 (stand alone professional CD recorder) > my own CDR clones on TDK CD-R80 blanks > extraction on Pioneer DVRKD08RS DVDRAM drive with EAC v0.99 prebeta 4 > 16bit flac's (level 8) > dimeadozen.org
since I lost all details in a HD crash, this one might either have been recorded with another deck and tuner - but it's definitely sourced from a MD recording and NOT a CDR or DAT, and then transfered to CDR
firstly upped by survivor69 on Dimeadozen.org, 11-december-2013 (dimeupload #1043)
note that due to disk space limitations, I will not be able to keep seeding this torrent for a long time - I will abandon the seed in a few days, maybe remove from HD these wav/flac files, and keep only my own CDR. Too many things to upload. In case of seeders going missing, enlist yourself as a leecher and some seeder will come back, and you are anyhow welcome to try and ask for additional torrenting...
checksum file included - if uploaded on other trackers or reseed (and you are welcome to do both), please include original infofile and also do not change FOLDER name. Also, if not satisfied with my offering, you are welcome to remaster/retrack/whatever and repost, but please always clearly state where/who did you have this material from and keep original infofile. IF YOU ARE THEN OFFERING THIS SET ON YOUR BLOG AS mp3's, PLEASE SPECIFY WHERE TO ALSO GET THE ORIGINAL LOSSLESS FILES
"Sangam" is Charles Lloyd's 11th recording for ECM. All of these albums have been compelling in their way. They have stretched both artist and audience to varying degrees. This set, recorded live in 2004 at a theater in Santa Barbara during homage for the late Billy Higgins, was Lloyd's debut performance with Indian tabla master Zakir Hussain (Shakti), and drummer/percussionist Eric Harland (Lloyd's quartet drummer). What started as a one-off by three players brought together for one purpose has become Sangam, a going concern. This music, while rooted in the rhythms of the world, is jazz without a doubt. Lloyd plays everything from tenor and soprano to flutes, taragato, piano, and some percussion. While Lloyd is the centerpiece and is the melodic and harmonic bridge, what's on offer here is something truly unexpected, something wildly original and essential to jazz-improvisatory communication: the interplay between Harland's trap drums and Hussain's tablas is utterly astonishing. The rhythm section sings, squawks, whispers, and cries, and Lloyd, in his grace, plays his ass off while making plenty of room for this rather miraculous interaction. There is complete freedom here between percussive voices. Lloyd's allowance for, and encouragement of that space is remarkable for any leader, but his willingness to let the music unfold and happen is compelling, magical, and gives true definition to the term "Sangam," a defintion, according to the liner notes, of "confluence and coming together." The entire soloist rhythm section idea has been tossed. It means less than nothing here, and probably didn't occur to any of the players once the music began happening. The jam opens with Lloyd on taragato for "Dancing on One Foot," digging deep in acknowledging upfront the ensemble's debt to Eastern origins. But it goes so much further. "Tales of Rumi" is pure flow. Lloyd's tenor playing through modes and tonalities from the blues to Sufi music, with Hussain setting a pulse that Harland underscores, improvises upon, and then creates another pulse where Hussain takes off and creates yet another rhythm and its mirror image, as Lloyd listens deeply and sings the song. "Sangam" is introduced by a dialogue between Harland and Hussain, setting some otherworldly space for Lloyd to enter. He falls into their folded dimensionality and begins from the heart of their dialogue on his tenor. One can hear the Coltrane of "Africa" here, as well as Eric Dolphy's bop-stretched harmonics. But most importantly, one can hear Lloyd, his voice so sure-footed, his ear so finely tuned to what is happening around him that he allows himself to be carried by that stream of percussive ideas and accents as he hears them, and speaks something deep, definite, and open in order to prod the pair on. It goes like this for the entire 65 minutes. From one place lyric and melodious that breaks through to another song form as yet unheard in this piece by anyone playing it ("Hymn to the Mother") to another full of ritual space and Indian classicism -- Hussain's "Guman," that pays homage to the discipline of his father -- the effect is the same: its mystery is revealed as it happens, and creates as many questions as it answers. There is a jazzman's sense of adventure in all of this, however, and Lloyd, Hussain, and Harland honor that spirit and, as always, knowing the music's great generosity of spirit, brings in everything that feels right while freely giving props -- sonically -- to the territories it derives that inspiration and generosity from. ~ Thom Jurek, All Music Guide