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Track Listings
| 1. I Fall in Love Too Easily (For Lily) |
| 2. Go Down Moses |
| 3. Desolation Sound |
| 4. La Llorona |
| 5. Caroline, No |
| 6. Monk's Mood |
| 7. Mirror |
| 8. Ruby, My Dear |
| 9. The Water Is Wide |
| 10. Lift Every Voice and Sing |
Product Description
Review
Saxophonist Charles Lloyd has always operated at a tangent to the jazz mainstream. Coming to prominence in the 1960s with a progressive yet accessible mix of Coltrane-influenced post-bop and sunny soul-jazz, his quartet with drummer Jack DeJohnette, pianist Keith Jarrett and bassist Cecil McBee achieved unlikely fame with the hippie counterculture and scored a massive hit with their 1966 album Forest Flower. Lloyd largely dropped from sight in the 1970s and most of the 1980s, but he returned in 1989 with Fish Out of Water, revealing a mature sensitivity and an inclination towards ballads, and marking the beginning of his ongoing relationship with the iconic ECM label. With this latest release he seems to have come closer then ever to mainstream respectability, while retaining some of his maverick idiosyncrasies.
Mirror is Lloyd’s first studio recording with his young quartet featuring pianist Jason Moran, drummer Eric Harland and bassist Reuben Rogers. As on their live debut – 2008’s Rabo de Nube – Lloyd harnesses their youthful energies to create lush, tender ballads with a deep respect for jazz tradition. There are two affectionate versions of Thelonious Monk tunes, as well as a delicate rendition of the standard I Fall in Love Too Easily – on which Lloyd swaps his usual tenor for the alto saxophone, revealing a fragile vulnerability not always detectable in his playing. There’s some accomplished support from the sidemen too. Rogers steals the show on The Water Is Wide with a succulent, bluesy vamp; and Harland pulls off a feat of lateral thinking on a version of the Beach Boys’ Caroline, No, rattling out free-ish, skittering snare behind a loose ballad.
It’s in the final quarter of the album that Lloyd’s radical sensibilities shine through. Lift Every Voice and Sing transforms an old-time spiritual into intense free-jazz; Being and Becoming shimmers with a limpid spirituality; and the album finale, Tagi, has Lloyd delivering a hushed recitation on Eastern philosophy over a deep arco bass drone, with Harland’s skipping drums revisiting the 2006 album, Sangam, he and Lloyd made with master tabla-player, Zakir Hussain.
It’s been a long, strange trip for Charles Lloyd – but the journey’s far from over.
--Daniel SpicerFind more music at the BBC This link will take you off Amazon in a new window
The Guardian, (John Fordham), October 1, 2010
(5 stars) A moving ballad player with a uniquely gauzy and vulnerable sound...a fine composer...looks like one of 2010's major contenders.
(4 stars) A very accomplished ensemble...Lloyd is an ardent melodist to whom tone, lyricism and expressivity are all.
(4 stars) A very accomplished ensemble...Lloyd is an ardent melodist to whom tone, lyricism and expressivity are all.
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Customer Reviews
Most Helpful Customer Reviews
16 of 16 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
There was critical consensus that 2008's "Rabo de Nube" was a very special beast and the summation of Lloyd's art over the last decade. "Mirror" is the first studio recording by the same quartet and has yielded, if anything, more ecstatic reviews bar one from a very non-plussed and let-down lover of "Rabo de Nube". If truth be told, "Mirror" is not quite the masterpiece advocated but much much better than the dissenter's protest.
A quick look at the track listing is not overly encouraging. Three of the tracks have appeared on Lloyd's releases in the last decade and the proliferation of standards suggests a lack of inspiration. However, the opening notes of "I Fall in Love Too Easily" dispel any such doubts, Lloyd's alto beautifully winding its way round the melodic, restrained and doleful bass of Reuben Rogers. "Desolation Sound" sounds initially like Coltrane's "Naima" before revealing it as worthy of the jazz firmament as "Monk's Mood" or "Ruby, My Dear" which appear elsewhere.
Although Lloyd's flute playing is conspicuously (and sadly) absent, his saxes sing with a richness, maturity and vitality. For anyone who has seen him live, Eric Harland's drumming is pretty restrained throughout, but there is still plenty of snap and crackle as he plays with a skittish sensibility reminiscent of Jon Christenson. Jason Moran's piano playing is always elegant and colourful but, for me, Rogers steals the sidemen's show, displaying great versatility. The intensity and edge increase with the final three tracks - a deconstructed "Lift Every Voice and Sing", the wonderful "Being and Becoming, Road To Dakshineswar With Sangeeta" and the possibly even better "Tagi" full of the Indian feel reminiscent of many of Lloyd's releases as Lloyd narrates a poem over wonderful bowed lines from Rogers. It is a climatic feeling to a great album which, for all that it does not quite heat the peaks of its predecessor, is highly recommended.
A quick look at the track listing is not overly encouraging. Three of the tracks have appeared on Lloyd's releases in the last decade and the proliferation of standards suggests a lack of inspiration. However, the opening notes of "I Fall in Love Too Easily" dispel any such doubts, Lloyd's alto beautifully winding its way round the melodic, restrained and doleful bass of Reuben Rogers. "Desolation Sound" sounds initially like Coltrane's "Naima" before revealing it as worthy of the jazz firmament as "Monk's Mood" or "Ruby, My Dear" which appear elsewhere.
Although Lloyd's flute playing is conspicuously (and sadly) absent, his saxes sing with a richness, maturity and vitality. For anyone who has seen him live, Eric Harland's drumming is pretty restrained throughout, but there is still plenty of snap and crackle as he plays with a skittish sensibility reminiscent of Jon Christenson. Jason Moran's piano playing is always elegant and colourful but, for me, Rogers steals the sidemen's show, displaying great versatility. The intensity and edge increase with the final three tracks - a deconstructed "Lift Every Voice and Sing", the wonderful "Being and Becoming, Road To Dakshineswar With Sangeeta" and the possibly even better "Tagi" full of the Indian feel reminiscent of many of Lloyd's releases as Lloyd narrates a poem over wonderful bowed lines from Rogers. It is a climatic feeling to a great album which, for all that it does not quite heat the peaks of its predecessor, is highly recommended.
5 of 5 people found the following review helpful
Format:Audio CD
Five INVIGORATING Stars! Marvelous performances by the Charles Lloyd Quartet in the followup to the award-winning, live Rabo de Nube (Tail Cloud or Whirlwind). Mr Lloyd, the venerable tenor sax titan, at age 72 is still an ascendant marvel of great improvisational invention and compositional imagination. He is playing with a talented group that wasn't even born when he first announced his presence to the jazz world by lighting up his original version of "Forest Flower" with guitarist Gábor Szabó on Chico Hamilton's Man from Two Worlds. This is the first studio date from this very talented and cohesive group which includes Jason Moran on piano, Reuben Rogers on bass, and Eric Harland on drums and finds them in a more pensive, balladic mood, but still intense and very inspired. Also, LLoyd plays alto sax on this CD. From a lovely, intense version of "I Fall In Love Too Easily" to a buoyant "Go Down Moses" delivered over a driving beat to 2 Monk ballads to originals and one ringer, among others, this is beautiful, introspective swinging jazz. The other top performances begin with the title track "Mirror" which gets a memorable performance, that went straight to my crowded iPod. The ringer here is the rock hit "Caroline, No" by Lloyd's friend Brian Wilson from the Beach Boys' Pet Sounds [2000 Re-issue] CD: Lloyd takes it to the jazz 'woodshed', turning a rock beauty into a luminous jazz ballad that proves music is truly universal, especially in the hands of a master. The anthem "Lift Every Voice and Sing" will surprise many with its beautiful interactive free section. The other ballads "La Llorona" and "Desolation Sound", which is anything but desolate, are impressive tone poems which are perfect foils for the classic Lloyd sound. The final long track, "Tagi", has a vocal religious meditation amid the rising crescendos: the music is inspirational as intended especially the sonorous arco bass lines and Charles' soaring sax. This CD, with a generous 12 tracks, is enjoyable proof that going into his 6th decade of jazz excellence, the amazing Charles Lloyd continues to push the envelope, gaining musical ground and spiritual breadth, finding musicians and music that provide challenge, not comfort. "Music is a healing force", indeed! My Highest Recommendation! Five INSPIRED Stars! (This review is based on an iTunes download of 12 tracks: ~1:09:28. Trivia: Charles LLoyd was a member of the Beach Boys road and studio band for a fair amount of time, during a lull away from jazz: also sharing the TM spiritual approach to life with band members Al Jardine and Mike Love. This was after his own legendary and lucrative Forest Flower - Sunrise [Live@Monterey] LP became one of the rare jazz recordings to sell a million copies.)
5 of 5 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
There is always magic in the air whenever Charles Lloyd issues an album,a true innovator l;ike LLoyd always pushes the envelope to the edge,and this force majure is no exception,there is something for everyone on this album,be it old,new,borrowed or blues.
The quartet is Charles LLoyd Tenor and Alto sax,Vocals,Jason Moran Piano,Reuben Rogers Double Basss and Eric Harland Drums.voice and th playing is fantastic,with the sound weaving beautifully textured."La Lorona " and a masterful version of Brian Wilsons "Caroline No" are prime examples of a man at his peak,showing that after years in the industry Charles has lost none of his zest for music.
The album also contains a couple of reworkings "Lift every voice and sing"and "The water is wide" both of which still feature in his live set.
Theolonius Monks'" Monks Mood" is hanled tenderly as well
"Mirror"is the title track and is perhaps the most immediate of the new self penned tunesand in some ways reminds me of "Georgia on my mind"great bass lines on this as well
"Ruby my dear" has some delightful piano,bass and sax interplay
so there you have it then another great album from Mr LLoyd.
The quartet is Charles LLoyd Tenor and Alto sax,Vocals,Jason Moran Piano,Reuben Rogers Double Basss and Eric Harland Drums.voice and th playing is fantastic,with the sound weaving beautifully textured."La Lorona " and a masterful version of Brian Wilsons "Caroline No" are prime examples of a man at his peak,showing that after years in the industry Charles has lost none of his zest for music.
The album also contains a couple of reworkings "Lift every voice and sing"and "The water is wide" both of which still feature in his live set.
Theolonius Monks'" Monks Mood" is hanled tenderly as well
"Mirror"is the title track and is perhaps the most immediate of the new self penned tunesand in some ways reminds me of "Georgia on my mind"great bass lines on this as well
"Ruby my dear" has some delightful piano,bass and sax interplay
so there you have it then another great album from Mr LLoyd.
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Most Recent Customer Reviews
Through the mirror of longing
This is the 1st studio album of the Lloyd-led quartet including Jason Moran on piano,Reuben Rogers on bass,Eric Harland on drums and of course, Charles Lloyd on tenor and alto... Read more
Published 11 months ago by technoguy
Dreary
This is the first Charles Lloyd album I have bought following reading the rave reviews. Obviously someone loves it but I found it totally dreary. Read more
Published 17 months ago by Mr. S. Lawless
Charles Lloyd on form
As someone who has been following the music of Charles Lloyd for a number of years, and has most of his recorded music, I have found this set to be superb, and a tribute to the... Read more
Published 17 months ago by N. Moreland
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