Many of those young people brought the dance club with them. Toward the end of Masekelas set, a group of audience mem- bers started a line dance at the back of the venue. Three steps to left, three to the right, backward, forward, a (Shes So) Fragmented - Rik Wrights Fundamental Forces - Red (CD, a pivotit looked strangely familiar. Souza Explores Intriguing Sonic Territory L uciana Souza figured it was time to Morenoa reflective song by Gary Versace and ing his informed opinion and perspective, she throw a changeup.
After a series of fine renderings of Leonard Cohens poems Split appreciated the guitarists ability to move freely albums with largely the same musicians and No One To Follow. For the sessions, Souza brought in skeletons Luciana gave us plenty of room to express It was time for something new, she said of compositions with bass lines, melod- ourselves, Loueke said. Wed record and then over the telephone from her Los Angeles home, ic phrasings and rhythmic impulses, which add in a lot afterwards to bring it alive more.
After that she I just got new equipment, so she gave me the producerLarry Klein, and their young son. So thats what the new album is all about. She jumps imme- In Tongues Sunnyside what Souza called a the boundaries of the original tracks. I want- diately wherever you go, he said. Shes not musical inquiry into language and conversa- ed it to be messy, full and dense, but also excit- afraid if I play the wrong chord behind her.
So what we did was clean, select Shes not afraid to get lost. She goes for it. Sonically Souza stumbled onto the introspective, et to enliven her wordless vocal excursions. If the electronics went too far and ed that Speaking In Tongues was going to be from Benin, West Africa; harmonica virtuoso [something] wasnt comfortable for me, we got devoted exclusively to wordless vocals. Those Grgoire Maret, who was born in Switzerland; rid of it. But theres a big difference between the two musical recitations give the album anoth- Sweden-born bassist Massimo Biolcati; and roughs and the final.
Souza, in fact, had pre- drummer Kendrick Scott, a Houston native. Prior to the recording sessions, Souza spent viously considered devoting an entire project to I knew there were lots of possibilities play- a lot of time listening to albums by Weather Cohens words. I was seeking to do what they created, Leonard is a family friend and had told serves as an improvisational instrument in the she explained.
They were my muse. They are all generous, but I needed them to The nine-song Speaking In Tongues features me to do a whole record of his poems set push me. The band offered me more than I had such Souza originals as the celebratory At The to music, she said. So I left that project, experiencedthey were ready, open and unapol- Fair, which gets its ebullience from Scotts per- but then inside my piano bench I discov- ogetic. Since they had a deep understanding of the cussive undergirding and skittering grooves, ered printed versions of his lyrics I had writ- limitations of supporting a singer, they poked me and the sonically textured Straw Hat a song ten.
I loved them. So I contacted him and he and said, Dont worry, well catch you. Some people say they dont belong on then playing eight warm-up gigs inthey soars with a wild harmonica ride by Maret.
Speaking In Tongues, but I needed to include jumped into the studio. The resulting album Souza often relied upon Loueke as a sound- them because they hit me so deeply. I created includes four Souza compositions, Louekes ing board in the studio when it came time to simple melodies to let the words speak.
In addition to valu- Dan Ouellette. A riel Pocock took a bold chance when title track. Speaking by phone from her home raised in the Seattle area. Her introduction to sequencing the tracks of her debut in Durham, North Carolina, Pocock recalled jazz was through CDs of various vocalists she album. Touchstone Justin Time that she and Pierson knew that we wanted the heard as a child, including Ella Fitzgerald, Mel opens with an interpretation of Exactly Like album to be something that allowed me to go in Torm and Shirley Horn.
Pocock incorporated You that features just her vocals and drummer a lot of different directions. She had considered sequencing the tracks then started singing after she had joined her Recorded when she was merely 20 years old, by alternating tempos, but Pierson suggest- high schools jazz band. Pocock makes her initial musical impression by ed using the looser measures of moods and When I think of Ariel and her music, I singing and scatting confidently and comfort- themes.
Her friends later pointed out that really think of her as an artist whos not frac- ably in an instrumentally sparse setting with- the mid-album sequence of Keith Jarretts tured in any way, said Lage, whom Pocock out the benefit of accompanying herself on the Country and James Taylors You Can Close befriended while they were both on the piano, her main instrument. Your Eyes formed an Americana mini-block. Stanford Jazz Workshop faculty. That was Matts idea to start with Exactly I wanted to have a few standards because An Essentially Ellington competition winner Like You, Pocock said, referencing Touchstone theyre fun to play, she said.
It was very scary to me nist. I didnt want it to be a pop album. Student Music Awards, she earned a bachelors at first, as you can imagine. Pierson convinced her not to record other degree from the Frost School of Music at the In addition to Harland, the members of her standards, particularly Body And Soul and University of Miami. She moved to Durham in all-star band for the Touchstone sessions were Lush Life. Shed have subsequent opportu- order to teach, gig and plan her next career move.
Bushs Mother Stands For Comfort. Grenadier and Blake. There are instrumental interpretations, At first we were thinking it would be some- Id been listening to all those people for notably a quartet version of All The Things You thing that I sang. Kate Bush is awesome, but like 10 years, so I was nervous, she recalled Are and a duo reading of When I Fall in Love the lyrics are totally off-the-wall, Pocock with a laugh.
But I met them, and immediately with Grenadier, and an original composition in explained. So I said, I dont know if I want to they were just so nice. Still, it took me a little bit the form of her sinuous, bluesy Barrel Roll. But I love just the vibe that to get over the feeling of, Oh, theyre just doing The program is quite diverse, from the song has and think it would be a really cool me a favor, because obviously theyre not.
Her demeanor put everyone at ease, Dream with Carmen McRaes lyrics to sing- The daughter of a classical piano playing Lage said.
It was very inclusive, which was er-songwriter Dayna Kurtz who penned the father and piano teacher mother, Pocock was the reason it felt so good.
Yoshi Kato. But stage, picking up the nuances. Composed for the occa- comparing the building of a pyramid to how in setting up on-the-dime swing-clave switchoffs sion of JLCOs first-ever visit to Cuba inlong it takes to become a full-blown musician. InMarsalis offered him the JLCO during its final concert of the season, full-bodied, erudite bass lines and showcasing bass chair.
The bassist was the music direc- spanning a century of jazz and Pan-American pot of dialects that defined South Bronx musi- tor for the event, just as he was for the Cuba musical expression. It was tough to learn all this music, but Pyramid, the title track of his accomplished Santiago and Andy Gonzalez, and with New you develop fast, he said.
Grooves had names debut album on Blue Engine. On this orches- York Philharmonic principal bassist John I didnt know, but I heard them so much that tral iteration, Henriquez reimagined Puerto Schaeffer, with whom he would study for 14 they became natural to play. You think quick- Rican trombonist Juan Tizols Pyramid, from years.
Its not tive of Ellington crossed with Wayne Shorter. Puente, Eddie Palmieri and Celia Cruz. Once you understand everyones The pyramid symbolizes where I grew up Andy played me records and videos, and logic, it becomes easy. Everyones trying to get in the South Bronxmy mom would worry if I pointed out what bassists were doing, how the to one destination, and there are many different left a certain zone in my hood, Henriquez said conga relates to the bass, Henriquez said of roads to get there.
Ted Panken. As a leader I want to make my music be inclusive and not exclusive. You have to give people a way to get into your musicwhether its rebellion or joyand decide for themselves. By presenting my music with its back-story, I think I gain a point of interest with the audience. Case in point: the playful song ShitPay, which features Larsons saxophone swoops and Penmans catchy bass solo.
The theme is playing gigs for next to nothing in pay. Rather than roil, Larson took the sentiment into a happy zone. It was fun to compose that, Larson said.
And I let the audience know it. According to Stevens, ensemble chemis- try played an important role during the recording of Selective Amnesia. Adam and I have complementary tones, ways of phras- ing and interpreting melodies, the guitarist said.
Adam has a lot of energy, vocabulary and urgency in his playing, and I think that sparked a lot of the exchanges between us and the rest of the group. In his first blogpost for Inner Circle, Larson reflects on his life on the road in regard to pre- senting master classes and clinics at institu- Players tions ranging from elementary schools to uni- versities his first college-level class came at the.
Contrary to popular opinion, tours can and do turn a profit, Larson writes. I almost guaran- Flexible at Every Level tee that without management and a lot of hype, a young musician will have a hard time mak. I n the midst of his still-young career, saxo- Selective Amnesia. Its an impressive album that ing much on a tour after all the related expens- phonist Adam Larson has had to learn how to not only expresses his sense of a newfound per- es, by only playing clubs.
Ive found that seek- choose between the sprint and the marathon. It features a terrif- master classes at universities and high schools yesterday, he said on the eve of the release of ic band: Fabian Almazan on piano and Rhodes, has increased earnings for myself and my Selective Amnesia, his third recording and first Matthew Stevens on guitar, Matt Penman on band members significantly.
Some bass and Jimmy Macbride on drums. That can be a detrac- ego and imposed drama with his music. By I enjoy teaching, he said, and Im getting tion as well as a means to work to get better.
We talk about playing original Perspective is everything. Larson writes that he wiped clean the memo- music and [address] questions on harmony in Larson, who earned undergraduate and ry and discovered a strange sense of libera- the younger settings, while at the college level graduate degrees from the Manhattan School tion, thus the premise behind the title.
Some people have of Music, realizes that it can be a bruising expe- In contrast to writing songs that are built to an ego problem about doing elementary-school rience breaking in, which can lead to viewing support blowing sessions, Larson took the sessions, but Im flexible at every level. When the jazz scene through a distorted lens, looking opposite approach. I always try to have a story the kids are younger, it might be the first time at the success of others with jealousy, envy and behind a song, he explained.
Sometimes Im theyve ever experienced jazzand thats a even disdain, as he writes in the liner notes for bored to tears when I hear a band just play one good thing. J osh Evans monthly gigs at Smalls in Greenwich Village are casual affairs with a workshop vibe. So no one in the crowd was surprised when, on a temperate Tuesday found nightly jams that led to steady gigs, among them stints with top players like saxo- phonist Benny Golson, with whom he toured Siberia.
Before long, he had signed up with two years, building his creative stamina and freeing him from the rhythmic tyranny of one, two, three, four, Evans said. When Ali died inEvans quit performing and moved back in October, the trumpeter suddenly asked their drummer Winard Harper for what became a to Hartford. But after nine months and many indulgence, turned to his band and told them that three-and-a-half-year stretch. I was a bebop guy trying to play changes, In clubs and on record, he wields a horn Nor did the audience pay much heed when he Evans said.
But I moved away from that when that, even at its coolest, burns intensely. It is the pivoted back in their direction and quietly I met Rashied. You could play anything over central element in a voice that seems destined to explained that the piece was the story of my life.
Not that notes didnt matter, but you be more widely heard, not least on the front line The audience stirred, however, when he start- didnt have to be thinking so squarely. Evans rubato was no exercise in lush Ali took him to nearly 20 countries over Phillip Lutz Romanticism, and the piece no facile study in the yin-yang of everyday existence.
It was, instead, a rough and somewhat anguished ridethe story of a life more despairing than hopeful, at least on this night, when the soft-spoken Evans let his trumpet do the talking. Its what we all should be doing, Bruce Williams, who played alto saxophone both at the gig and on the album, said in a phone conversation. The respect implied in Williams comment was well earned. Evans has, at age 31 built a resume that speaks volumes.
Not long after, the two were sharing bandstands. That was the moment when I knew what I wanted to do, Evans said recently in Manhattan. While still a teen, he moved to Harlem and. Ive always got n late Februaryabout a week before that Southern gospel-blues root thing on singer-songwriter Lizz Wright went into the itI cant get that off! Its like a good kind of dirt, you know? Not a nasty dirta good studio to record her fifth album, Freedom kind in which you can grow stuff. I know there are pieces of coun- try, folk, jazz, gospel, soul music and blues mountain curve near her North Carolina home, in what I do, but these styles dont feel sepa- rate to me.
They look like the collage of peo- and headed toward a foot ravine. On the Wright described this harrowing, near- songs that demonstrate a new maturity and a downside, she added, If youre this eclec- death experience in a recently published essay: hard-won Album) of balance between the secular tic, you can be made to feel a bit homeless. K I softened my body and rested my hands in and the sacred. The heavy car floated silently.
I was since s Fellowship Vervea collection of these styles. Its her first for her new was initially supposed to be a record of of the bank like a hook. I slowed my breathing label, and her first time working with bass- cover songs, he said.
But Lizz told me, I dont and meditated in suspension. About 20 min- ist-composer-producer Larry Klein, whos really want to do that, but the record company utes later, a young neighbor pulled the door known for his sensitive work with female sing- wants me to.
She wanted to write songs about open, reaching in with a strong arm to guide ers including Luciana Souza, Joni Mitchell, where she was atat this point in her life my climb out. Tracy Chapman and Madeline Peyroux. And I It was as if it were part of a balletevery- Although it started out as an album of love thought that was a great idea.
I felt weird life and spiritual development. She co-wrote all we work, and Ill keep the record company at for about two days. But, in the end, it was real- but three of the discs 13 songs, six with Klein bay.
The writing process stretched out over a ly good for me. I remember thinking, as soon as and his regular writing partner, David Batteau, year-and-a-half, during which Wright made I got back on the ground, that I had to get this and others with J. Souther, Maia Sharp and frequent trips to Los Angeles to work with record done. I was too untethered from life. I Wrights longtime writing partners Toshi Klein and Batteau. She had gone Reagon and Jesse Harris. The three carefully Singer-guitarist Toshi Reagon has been a through a period of depression, she said, but selected covers are inspired choices: Reagons friend and mentor to Wright her since her earli- I knew this record would bring me out of it.
It Freedom, the doomed British pop songwrit- est days in New York. Reagon is the daughter of was time. Bernice Johnson Reagon, founder of Sweet active in life altogether, and more grateful. The Freedom Singers, who gained famed sing- striking photographs alternate: one, the cover Klein assembled a brilliant band: guitarist ing at civil rights rallies with Dr.
Gospel is a 20th-centu. B Rhodes, Till Brnner on flugelhorn, and Porter, ry tradition. Lizzs singing comes out of a much oth earthy and ethereal, the preachers who shares the romantic duet Right Where older, 19th-century way of phrasing.
When I daughter from the heart of Georgia can You Are. As in Wrights live performances, a first heard her sing, I called my mom, whos also sing jazz with great authority when she churchy Hammond B-3 figures prominently in from Georgia, and I said, Mom, youre not gonna chooses to.
She has worked with some of the most of the arrangements. Its very rare to hear somebody Lizzs leading jazz artists of the last decade, includ- If I had to summarize her qualities in a age sing that way. Wright is, according to the ing keyboardist Joe Sample, drummer Terri word, Id say shes an honest singer, Klein said younger Reagon, one of the few contemporary Lyne Carrington and soul-jazz singer Gregory via Skype from his home studio in Los Angeles.
Yet Wright doesnt consider herself a Her co-writer and friend Jesse Harris sound and tradition that she teaches, despite jazz singer, and for good reason. Her mix of agreed. When Harris presented Wright with not having been personally taught by her.
She styles, traditional blues, folk and contempo- in for her innovative songwriting, he sings perfectlyshes the Serena Williams of rary pop shows the influence of many genres described her as the essence of a natural sing- singing.
I feel like Im a student when I work without fitting comfortably into a single one. With each breath she takes, warm, joyful with her, Reagon said. Now, after a five-year hiatusduring which and sometimes sorrowful sound comes pour- The spirituality in her music has deep roots.
She writes songs in the same way. My only exposure to it was through rearranged her prioritiesWright has emerged she sings.
Thats her channel, Klein said. The Wrights lived in Kathleen, in central Georgia. Her father, an Air Force veteran, is an aircraft mechanic at Robins Air Force Base and a preacher at the non-denomination- al Community Outreach Ministries, a store- front church in Montezuma, Georgia.
From 5 years old on, Wright said, I would sing a song or two at every service, right before Dad would preach. By age 16, she had become the churchs musical director. Both parents are musical, though neither had formal training. My mother would liter- ally go to the piano and lay her hands on it, feel her way through it, and sing. It was like she was massaging the keys. She does so many tech- nically wrong things, but they workshes very musical.
Wright learned to play piano from the age of 5, writing songs and taking lessons from a Baptist minister. My father read all kinds of stories to me, Bible stories and African American folktales. After preaching in church, he didnt have enough. Wed have a little mini-church [ser- vice] in the house; it was called family devo- tion. Hed read a story or parable to me, my sister and brother, and give us parts to play. Now I realize how weird my childhood was.
Wright grew up singing in a church in Georgia, As a child you dont care for those kind of where her father served as a preacher. But now I thank him. Her older brother is also musically gifted.
Winans, Vanessa Bell Armstronga whole ble in nature. I was steeped in sound and every headliner in secular music. She sought out fel- Christian logicmiracles, prayers, covenants. But, she added, when it comes to gos- low students who played it, and asked them what So when I Album) my brother (Shes So) Fragmented - Rik Wrights Fundamental Forces - Red (CD like that, I pel music, I still like the old stuff.
I like it records she needed to study. I went around interviewing people with a. W made a deal with God: I will sing for you and notebook, she recalled.
She began sitting in with play for you. Just teach me how to do that; just right studied music throughout (Shes So) Fragmented - Rik Wrights Fundamental Forces - Red (CD local musicians, many of whom shared her back- give me that, she laughed. The groups manager, Its fine! Now, without holding fast to any attended state competitions.
At Georgia State Ron Simblist, helped her make a demo and get it ideology, I can still say that every prayer is University in Atlanta, where she studied classical to Ron Goldstein, the president of Verve Records. So voice, she discovered that her range was wider She was My whole life than she thought. My teachers always made me Executives at Verve liked what they heard, changed.
I started playing all the time. I start- sing second soprano, she said. They said, In agreeing to put her into an artist develop- ed listening to [songs] and learning how to play order for you to have vibrancy and for your tone ment program and paying for lessons in New them.
Then Dad put me to work in his church. Richard Harper from The New Being sheltered from the secular main- end of your range. It helped me, and it made School. He had her singing spirituals in the stream gave her a hunger for all kinds of music singing low a special treat for me. She says the work helped her I missed, she said.
It may have also caused her It took a while for her parents to warm up to integrate classical technique into singing to hear things a bit differently from others of her secular career. I pulled my life away from more secular and contemporary material. It her generation. It allowed me to hang on to an them and explored it in secret, she said.
At helped me get more force out of my voice and old sound thats really hard to imitate. The old, Georgia State, she began to explore the possi- more stamina, she said. Then Norah Jones happenedand people thats how people still sing [in Georgia] when I She considered singing love songs on a gospel were inspired by that. It was a blessing that she go home. That peri- was possible. She got mixed responses. It suddenly was od in gospel, the 90s, was amazing, she said.
Now she sees the distinction as artificial: I acceptable for Wright not to sing straightahead You had [artists like] Commissioned, The think the secular and the sacred are insepara- jazz. Norah happened to meet a great need for. Theres a way to study jazz, and be so exact about what its sup- posed to be, that it feels like youre visiting a museum, and I cant take that, she said. Its not that she doesnt admire artists who mine traditional jazz and keep it alive.
It works for some people. Im still learning the tradition. But I have a lot of interesting things in my heart and head and Im try- ing to say something with my music about what I see and feel right now. Her friendship with Reagon is special. Toshis presence in my life is very different from anyone else, Wright said.
She and her momthey sound like home to me. Toshis just honest. Theres a thing about people from Georgia and how they sing, how they sit inside of a tempo in a way thats country. She gets that from her mom, I guess.
We write things together that sound like where I came from. Reagons solo composition Freedoma fervent prayer set to a com- pelling funky riff opens the album. It was written with Lizz in mind, Reagon said. The song came to her out of the social and racial turmoil of the past year, but it has a special relevance to Wright for more personal reasons. The idea of having the courage to be free was a theme Wright began sounding with the very first track of her debut, s Salt.
I want to be free, she said, but I want to keep the continuity with my past. Id like the people who heard me sing when I was 5 in my fathers church to be like, Yeah, thats her; she still sounds the same. Right Where You Are is a soulful duet with Porter. I had toured with Gregory inshe said. It was kind of an arranged marriage. People were telling me, You have a musical soul mate.
It was awkward at first. But now that Ive hung out with him, I understand that. While running on Venice Beach one morning, during one of her writing visits to L. Co-writer J. Souther had wanted to sing the har- mony part, and that would have been fine, she said.
But she had want- ed to duet with Porter for a while, and suddenly she could hear it. She stopped in the middle of her run and texted Klein. They tracked Porter down in Paris and arranged for him to record his vocal at a studio there. He has so much power and color in his voiceits like a place you can walk intoits huge. The care he took with the song, and the tenderness in his voice, was a very clear mes- sage to me. We are good forever.
Wright is no longer concerned about whether shes considered a jazz singer or not. She seems grounded in her personal life and in her new creative space. In reality, shes part of an old folk and blues tradition. Im heavily influenced by jazzI studied the way Billie Holiday and Ella Fitzgerald delivered lyrics, the pacing and use of space of Shirley Horn. I have bor- rowed wisdom from a lot of places, but Im still a storyteller, because thats what my father is.
I dont know how the jazz darling thing happened, she reflected. I never earned that. I understand the music, have studied it, and I love it. But it doesnt come out of me like that. Instead, she thinks of herself as a peoples singer.
I like artists who have careers like Bonnie Raitt and Keb Mo and Odettathose are peoples singers to me, she said. I come from a place where gospel and country, and jazz and blues, can cross, naturally. Because Im on a jazz label, its been a big cloud to run from under. Yet its showered me with so many gifts. Its a strange thing. But the truth is, I can talk to anybody, and I can sing to anybody, and I want to have a song for anybody.
M y experience of writing the book Charles Lloyd: A Wild, album aligned Lloyd with rock bands of the Summer of Love Blatant Truth Silman-James Press entailed a long, epoch, pushing him into a realm of fame far beyond the usual strange and circuitous path full of stops, starts and parameters of jazz.
That path was Bybeset by demons of both the internal and external apropos, given that Charles Lloyds long life in and out of jazz kind including the persistent accusation that his artistry was a has entailed those same qualities. Culled from fascinating, lighter variation of John Coltranes workLloyd had exited the sprawling interviews that took place during a span of more public discourse, stage left.
He pursued a soul-searching hermitage than 25 years beginning inthis book tells the story of a in California, first in Big Sur and then Santa Barbara. In the 90s, Lloyd became a major earning rights as an minence gris, a revered, old-school jazz presence on the global stage, signing on for a long, hero from a fading jazz generation.
He was named an Chico Hamilton and then alto sax legend Cannonball Adderley. NEA Jazz Master inand, at 77, he has risen to the elevated Duly propelled into his long if fitful life as a leader, Lloyds status of legendwith plenty of songs still left in the fiddle.
He and his quartet Below are two excerpts from the book. The first one addresses the young firebrand pianist Keith Jarrett, drummer Jack a precipitous moment in the saxophonists saga, when the DeJohnette and bassist Cecil McBeescored one of the landmark incendiary popularity of Forest Flowerrecorded on the same commercial successes in jazz history, Forest Flower, recorded at stage where Jimi Hendrix lit his guitar aflame at the the Monterey Jazz Festival.
Released the following year, the Monterey Pop Festivallaunched Lloyd into the stratosphere. This per- nothing to do with? It wasnt in the mental recesses of his ever-growing because they promoted the legion of fansespecially his young fans recordsthey were shocked from outside the jazz world. Lloyd penned the tune, with its gently rest- After [the Monterey less harmonic structure and idyllic spirit, while Jazz Festival performance], in Chico Hamiltons group, with whom he per- we went to San Francisco formed and recorded it earlier But in com.
I left the horn on the parison with those earlier performances of it, his curb. Although Jarrett of saxophone players and steals the show in some ways as later pianists in musicians who were all at Lloyds groups sometimes haveLloyd also puts the festival.
I didnt even forth a commanding performance on both move- have my horn, and I wasnt Flying high circa Cecil McBee topLloyd, Jack ments of the two-part tuneits core Sunrise sec- concerned. I was ripped-boom. I didnt understand. I thought he searching statements with bursts of boldness. I remember there was all this noise around played like [sings] toot-toot-toot. I didnt As Lloyds manager, the noted record pro- me and then something happened.
When know anything when I was young. Then hed ducer George Avakian, wrote in the albums youre in the now, theres only now, and I dont go to the studio and make some bread and drive liner notes, The music speaks for itselfa know what the commotion was about, but around in a Cadillac.
It may have Youth is kind of a messed-up stage some- it is a unique and personal music which com- been hours later. I remember he had a really times. I also thought, when I was extremely municates universally. While it has a distinct soft setup. When youre in the state that I was young, that I wouldnt have a saxophone in my individualityCharles Lloyd has created an in, like Sandoz-altered [referring to Sandoz mouth when Im I thought jazz was a young expression all his ownit draws on every kind Laboratories, which produced LSD in the mans music, it was that Live fast, die young, of music imaginable.
Well, that may be an s], I could adjust. The point was, I overstatement, but inbefore the term and Bird had to do that all the time, because he thought that you had to burn the candle and concept of fusion in jazz were commonplace, was always borrowing someones horn. You go ahead and go for it. Im learning now, more the Lloyd quartets collective vocabulary must heard the story about Miles and Art Farmer?
And Im closer to finding my sound. He would pay used to say, You know, its going to take 30 years. Avakian ends his notes by commenting that, Art Farmer to use his horn. He would rent his I would say, What are you talking about?
They during the Monterey sets finale, some measure horn, basically. One night, Art said Miles came said, Youll find out. They would talk about of the joyous atmosphere in the crowd might be to him and said, I need your horn. I got a gig. Johnny Hodges and people like that. They inferred by an incident that took place during this Art said, Ive got a gig tonight, too, Miles. I need didnt want me to have delusions of grandeur.
Art said, Miles, Im a long time to get a sound, and then it takes blue balloon and the crowd happily kept it bouncing not in the horn-renting business. Buoyancy You have to adjust, so I adjusted to this guys a long time just to understand this campus. I like resistance in my setup; its about wind results of the happiness generated by the Charles going through the thing, you know.
Avakians use of the Album) buoyancy ing on the sound. Its all wind. I study the ocean, career are his rise to fame in the late 60s and and universality perhaps points toward the poten- the sound and how the wind comes off it.
He through today. The gap between those phases ing band to reach heights of popularity rarely didnt weigh a whole lot, but he could blow you the lost wilderness years of the 70s and early attained by such bona fide jazz musicians.
I couldnt 80sis now viewed as a mythic period. Odd InI asked Lloyd about the delicate get that sound. Well, I wasnt going to drink album projects and curious choices of expres- dance between art and commerce he navigated that much scotch. The next in the s, especially after his Forest Flower See, Coleman was out in California, and so excerpt explores a missing link in the portrait album blossomed into a great public forum that was Bird.
It was happening out here. Then there of a jazz celebrity who has refused to follow a created a broad fan base for him and his band. Here was linear, pre-ordained career path. Lloyds USC, in interesting and revealing ways. The back-cover dedication, a harbinger of his most productive periods, of course, were the music to come, reads, Special thanks to second half of the s and then the extend- the tradition of the masters.
Primarily, despite occa- was also captured for posterity on sional special projects, these phases found Lloyd a number of pop records, including working in the fairly traditional acoustic jazz con- albums by the Beach Boys, with whom text of his quartetsax protagonist up front, with he sometimes toured.
He can be heard a piano-bass-drums rhythm section in tow. ISSN Skyhorse Publishing Inc. Time Out London. Retrieved 31 December Rolling Stone. Retrieved 18 June Retrieved 27 July Ottawa Beatles Site.
Retrieved 8 October Mental Floss. Entertainment Weekly. Retrieved 25 July The Beatles Abbey Road ". Retrieved 14 August Guitar World. Archived from the original on 24 April Abbey Road. Rubber Soul Revolver Sgt.
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Truly Love - Johnny Nash - Johnny Nash (Vinyl, LP, Album), Physical Jewels (Rmx) - Dica (2) - Criminology (Cassette), Raunchy - Various - No. 1 Hits! The Original Hits Vol. 11 (Vinyl, LP), DJ...Cut! (Lightforce Remix) - Various - DJ Pool 2000 (CD), Well Make Love - Dave Valentin - The Hawk (Vinyl, LP), Fugue - Choir Of The Cathedral Of Einsiedeln* & Choir Of The Dome Of Aachen* Conducted By Pater, Night And Day - Ella Fitzgerald - Ella Fitzgerald Sings The Cole Porter Songbook (Vinyl, LP, Album), Come Together - Ike & Tina Turner - Live In Paris (Vinyl, LP, Album), Just Mambo - Mambo (7) - Mamabo (Outrageous Cuban Classics) (CD, Album), Perfume - Carlos Paião - O Melhor De Carlos Paião (CD), Largo - Ensemble Marsyas - J.F. Fasch: Quartets and Concertos (SACD, Album)