Charles lloyd quartet love in

GRAMMY winner Kurt Elling is among the world’s foremost jazz vocalists. He won the DownBeat Critics Poll for fourteen consecutive years and was named “Male Singer of the Year” by the Jazz Journalists Association on eight occasions. An international jazz award winner, he has also been GRAMMY nominated a dozen times. Elling’s rich baritone spans four octaves and features both astonishing technical mastery and emotional depth. His repertoire includes original compositions and modern interpretations of standards, all of which are springboards for inspired improvisation, scatting, spoken word and poetry. The New York Times declared, “Elling is the standout male vocalist of our time.” The Washington Post added, “Since the mid-1990s, no singer in jazz has been as daring, dynamic or interesting as Kurt Elling. With his soaring vocal flights, his edgy lyrics and sense of being on a musical mission, he has come to embody the creative spirit in jazz.”

As I was saying, each jazz musician is supposed to be a composer. Whether he is or not, I don’t know. I don’t listen to that many people. If I did, I probably wouldn’t play half as much to satisfy myself. As a youth I read a book by Debussy and he said that as soon as he finished a composi- tion he had to forget it because it got in the way of his doing anything else new and different. And I believed him. I used to work with Tatum, and Tatum knew every tune written, including the classics, and I think it got in the way of his composition, because he wasn’t a Bud Powell. He wasn’t as melodically inventive as Bud. He was technically flashy and he knew so much music and so much theory that he couldn’t come up with anything wrong; it was just exercising his theory. But as far as making that original melodic concept, as Bird and Bud did, Art didn’t do this for me in a linear sense. I would say he did it more in a chordal-structure sense. Bud and Bird to me should go down as composers, even though they worked within a structured context using other people’s compositions. For instance, they did things like “All The Things You Are” and “What Is This Thing Called love.” Their solos are new classical compositions within the structured form they used. It is too bad for us that they didn’t compose the whole piece instead of using other people’s tunes to work within. If they had, they would have been put in the same class as Bartok and Debussy-to anyone who knows. Bud wrote a few things and so did Bird. But they were still within the simple chord changes you were used to-either the blues (which shows how great they really were, to be able to create-with new and good melodic structures-on such simple chord progressions). In other words, if they had created anything complex, I am sure they could have upset the world.

Charles Lloyd: Well, the time that I live in is that "nowness sutras," and those pieces spanning those decades, as you point out, they come from my childhood dreams of elevation in song. And so, "passing through." That's what we're all doing here. This is not our home — you can't build a house on a bridge thing. So I've always wanted to make a contribution. And that songs, they're my children. So they come to visit me from time to time. It's not the same manifestation, or it's not like repeating a song or something — it's about the ongoingness of what that is. And sometimes with this orchestra, we will start to play different pieces will come alive to us and speak to us. But I always dreamed of having an orchestra that could immediately get my signals, you know, and stay in the nowness with it and they get it. So all my life I would go up to the roof and I would call my people and I'm waiting for them to come, you know, and they come in some ways. And finally these guys show up, and gals show up, and something happens where they're in the now with me and they seem to love it.

Lloyd improvises with a space-stretching flexibility closer to Ornette Coleman than Coltrane on Ruminations; Nu Blues is infectious, loosely sketched bebop; Tagore on the Delta is a pressing groover for the leader’s eerily murmuring flute; and the flouncily dancing title track shows how playful the group can be. There’s a vivid live atmosphere, and this set will stir plenty of memories of Lloyd gigs for his many admirers.

From the success which has attended the Theatre since its opening on the 25th of September last, there cannot be a doubt that the undertaking will prove a highly remunerative investment.

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Lloyd’s “Dream Weaver” was originally recorded with the debut of his first quartet on the 1966 album of the same name. Here the piece serves as an expansive overture. The saxophonist expresses a lyricism colored by urgency, Moran scrambles rapidly across the keys, the bass growls, the drums tumble as the tune turns into an ecstatic expedition. In the liners, Lloyd cites a quote from the ancient Sanskrit texts The Upanishads: “We are like the spider/We weave our life and then move along with it/We are like the dreamer who dreams/And then lives in the dream/This is true for the entire universe.”

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