| Charles Lloyd |
| Wild Man Dance |
Charles Lloyd — Wild Man Dance
↑ Jazz legend Charles Lloyd presents the West Coast premiere of Wild Man Dance Suite, a new suite of compositions written for this meeting of American, Hungarian and Greek musicians, featuring a rhythm section of pianist Gerald Clayton, bassist Joe Sanders and drummer Eric Harland. Featuring Greek lyra player Sokratis Sinopoulos and Miklos Lucacs playing the Hungarian gypsy cimbalom, the suite had its world premiere in November 2013 at the Jazztopad Festival in Wrocĺaw, Poland, in which the ensemble performed the six movements like a flowing orchestral unit. Blending traditional jazz elements with visceral sounds and textures from antiquity, Lloyd has created something altogether new and exciting. As the British jazz magazine Jazzwise UK wrote in a review of the suite: “Charles Lloyd and his uncannily telepathic band created a feeling of timelessness. Lloyd’s quartet was augmented with traditional Greek and Hungarian instruments, which added a haunting emotional depth as the music in this single continuous performance ebbed and flowed, drawing back to expose the archaic lament of the lyra, the stark, mittel–european tone of the cymbalom, or Eric Harland’s elementally explosive drum solo.”
Location: Manhattan, New York
Album release: April 14, 2015
Record Label: CMR / Blue Note
Duration: 74:25
Tracks:
1. Flying Over the Odra Valley
2. Gardner
3. Lark
4. River
5. Invitation
6. Wild Man Dance
℗ 2015 Charles Lloyd, under exclusive license to Blue Note Records
ARTIST PERSONNEL
↑ Charles Lloyd tenor saxophone
↑ Gerald Clayton piano
↑ Joe Sanders bass
↑ Eric Harland drums
↑ Sokratis Sinopoulos lyra
↑ Miklos Lukacs cimbalom
Editorial Reviews
↑ Over 50 years into an already legendary career, 2015 is shaping up to be a momentous year for Charles Lloyd. The esteemed saxophonist and composer will be awarded the NEA Jazz Masters honor celebrating his remarkable career as well as recognizing his creative brilliance in the pantheon of such other living and vital jazz legends as Sonny Rollins and Wayne Shorter. Another career landmark will arrive in April when Lloyd returns to Blue Note Records 30 years after making his label debut for the release of his magnificent new album, Wild Man Dance, a live recording of a remarkable long–form suite commissioned by the Jazztopad Festival in Wroclaw, Poland, to commemorate the festival's tenth anniversary in 2013.
↑ For the past half–century Lloyd has loomed large over the music world with both his presence and his occasional absence. A musical mystic, Lloyd has apprenticed with jazz and blues legends from Phineas Newborn to Cannonball Adderley to Howlin' Wolf, helped launch the careers of jazz luminaries like Keith Jarrett and Jack DeJohnette, co–headlined rock events with Jimi Hendrix and Janis Joplin, collaborated with fellow artistic explorers from Ken Kesey to Lawrence Ferlinghetti, pioneered the world music movement by teaming up with the Hungarian guitarist Gabor Szabo and Indian tabla master Zakir Hussain, and became one of the first million–selling jazz artists with the global success of his 1966 album Forest Flower.
↑ The six–movement Wild Man Dance Suite was recorded in its premiere performance at the festival and features pianist Gerald Clayton, bassist Joe Sanders, and drummer Gerald Cleaver, as well as Greek lyra virtuoso Sokratis Sinopoulos and Hungarian cimbalom maestro Miklós Lukács, who color and texture and rhythmically charge the music. Lloyd's compositions are at turns elegant, graceful, turbulent, dynamic, meditative, pacific and emotive. The music evokes a sense of transcendence and mysterious journey from the opening ''Flying Over the Odra Valley'' that spotlights Lukács's cosmic hammered delivery as well as the leader's tenor saxophone brio, to the lyricism and dynamics of the epic ''Wild Man Dance'' finale where all the band members gracefully and gleefully converse.
:: http://www.amazon.com/Wild-Man-Dance-Charles-Lloyd/dp/B00SSGLIB8
↑ Wild Man Dance marks Charles Lloyd's return to Blue Note after nearly 30 years. ↑ The work, a six–part suite, was commissioned by the Jazztopad Festival in Wrocĺaw, Poland in 2013 and premiered and was recorded there. The composer is accompanied by an international cast. The American rhythm section — pianist Gerald Clayton, bassist Joe Sanders, and longtime drummer Eric Harland — are appended by Greek lyra player Sokratis Sinopoulos and Hungarian Miklos Lukacs on cimbalom. The music here seamlessly melds creative, modally influenced jazz and folk forms, a near classical sense of dynamics, and adventurous improvisation. The long opener "Flying Over the Odra Valley" opens with mysterious interplay between cimbalom and lyra before the bass, drum, and Clayton's elliptical piano enter in a collective rhythmic improvisation on folk drones. Lloyd begins his solo a little over three minutes in. He finds a melody from the heart of the droning center and begins to elaborate upon it as the other instruments gradually rise to meet him. Harland's gently rolling tom–toms, kick drum, and whispering cymbals accent Sanders, who takes a woody solo. It is framed by gently dissonant piano chords that erect themselves into a labyrinthine solo flight. When Lloyd re–enters, it is to re–establish the melodic modal center before Sinopoulos takes it out and helps to introduce "Gardner." Throughout the suite, Lloyd juxtaposes jazz with vanguard textures and the ghosts of sounds and musics from antiquity. Clayton introduces "Lark" with a solo that recalls the meditative yet expressive questioning of Olivier Messiaen's bird songs before bowed bass, lyra, and cimbalom lushly illustrate it without sacrificing the tune's spectral quality. "River" contains a gentle intro, which becomes the vehicle for knotty, swinging post–bop, and later, pulsing free group improvisation highlighted by killer playing byClayton, Harland, and Lukacs. And while the title track closer also begins slowly, with gorgeous Webster–esque ballad playing from Lloyd, it winds out into a kinetic, freewheeling exploration of tone, timbre, and color and a wonderful solo by Sinopoulos. Wild Man Dance is a success on virtually every level. Its vision is vast, but never indulgent; Lloyd's music is relatable and communicative throughout. It spreads farther than ever before to embrace other musical forms without forsaking jazz. Though Wild Man Dance is on Blue Note, it nonetheless reflects the spiritual and aesthetic qualities nurtured during Lloyd's 16–album tenure at Manfred Eicher's ECM, and extends them with musical restlessness and fearless willingness. This inspiring suite is a landmark in an already extensive creative journey that readily embraces the unknown. :: http://www.bluenote.com/
Other press:
↑ "(Lloyd's) new Wild Man Dance Suite featured Greek lyra and Hungarian cimbalom but this was not some world–music mash–up, the instruments simply adding new colours to Lloyd’s meditative, soulful reveries. He leads a brilliant young band, who played with an intricate delicacy. " — The Times (London)
↑ "A Charles Lloyd concert like (Wild Man Dance Suite) leaves you feeling joyful, spiritually refreshed. " — Jazz Journal UK
Website: http://www.charleslloyd.com/
Facebook: https://www.facebook.com/CharlesLloydSax
Blue Note: http://www.bluenote.com/spotlight/charles-lloyds-wild-man-dance
Agent: Dorothy Darr —
↑ Music is a healing force. It has the ability to transcend boundaries, it can touch the heart directly, it can speak to a depth of the spirit where no words are needed. It is a most powerful form of communication and expression of beauty. Whether in context of my "New Quaret" with Jason Moran, Reuben Rogers, and Eric Harland, or Sangam, with Zakir Hussain and Eric Harland, or with Maria Farantouri, it gives me great joy to make music with each of them. Each time we play together there is a healing wholeness that permeates the atmosphere.
We must go forward, all the great ones that went before us insisted on this. For each generation, it is incumbent upon us to rise up and sing the song — the journey and pursuit is unending. I will always remember that from his death bed Master Higgins told me “We must continue to work on this music,” and as long as I am able, I will continue to do so. Each of us has his own experience, and from that experience, something is transmitted. For me, the purpose of life is to know God and the struggle of spiritual life will go on as long as I have breath. The pursuit and the music are one.
Yours in the music,
Charles Lloyd
NEA Jazz Master Charles Lloyd / http://jazztimes.com/articles/144922-arrows-into-infinity-the-new-charles-lloyd-documentary-reviewed / https://www.youtube.com/watch?v=3-5ON-VMF9Y
_____________________________________________________________
| Charles Lloyd |
| Wild Man Dance |
↑ Jazz legend Charles Lloyd presents the West Coast premiere of Wild Man Dance Suite, a new suite of compositions written for this meeting of American, Hungarian and Greek musicians, featuring a rhythm section of pianist Gerald Clayton, bassist Joe Sanders and drummer Eric Harland. Featuring Greek lyra player Sokratis Sinopoulos and Miklos Lucacs playing the Hungarian gypsy cimbalom, the suite had its world premiere in November 2013 at the Jazztopad Festival in Wrocĺaw, Poland, in which the ensemble performed the six movements like a flowing orchestral unit. Blending traditional jazz elements with visceral sounds and textures from antiquity, Lloyd has created something altogether new and exciting. As the British jazz magazine Jazzwise UK wrote in a review of the suite: “Charles Lloyd and his uncannily telepathic band created a feeling of timelessness. Lloyd’s quartet was augmented with traditional Greek and Hungarian instruments, which added a haunting emotional depth as the music in this single continuous performance ebbed and flowed, drawing back to expose the archaic lament of the lyra, the stark, mittel–european tone of the cymbalom, or Eric Harland’s elementally explosive drum solo.”
Location: Manhattan, New York
Album release: April 14, 2015
Record Label: CMR / Blue Note
Duration: 74:25
Tracks:
1. Flying Over the Odra Valley
2. Gardner
3. Lark
4. River
5. Invitation
6. Wild Man Dance
℗ 2015 Charles Lloyd, under exclusive license to Blue Note Records
ARTIST PERSONNEL
↑ Charles Lloyd tenor saxophone
↑ Gerald Clayton piano
↑ Joe Sanders bass
↑ Eric Harland drums
↑ Sokratis Sinopoulos lyra
↑ Miklos Lukacs cimbalom
Editorial Reviews
↑ Over 50 years into an already legendary career, 2015 is shaping up to be a momentous year for Charles Lloyd. The esteemed saxophonist and composer will be awarded the NEA Jazz Masters honor celebrating his remarkable career as well as recognizing his creative brilliance in the pantheon of such other living and vital jazz legends as Sonny Rollins and Wayne Shorter. Another career landmark will arrive in April when Lloyd returns to Blue Note Records 30 years after making his label debut for the release of his magnificent new album, Wild Man Dance, a live recording of a remarkable long–form suite commissioned by the Jazztopad Festival in Wroclaw, Poland, to commemorate the festival's tenth anniversary in 2013.
↑ For the past half–century Lloyd has loomed large over the music world with both his presence and his occasional absence. A musical mystic, Lloyd has apprenticed with jazz and blues legends from Phineas Newborn to Cannonball Adderley to Howlin' Wolf, helped launch the careers of jazz luminaries like Keith Jarrett and Jack DeJohnette, co–headlined rock events with Jimi Hendrix and Janis Joplin, collaborated with fellow artistic explorers from Ken Kesey to Lawrence Ferlinghetti, pioneered the world music movement by teaming up with the Hungarian guitarist Gabor Szabo and Indian tabla master Zakir Hussain, and became one of the first million–selling jazz artists with the global success of his 1966 album Forest Flower.
↑ The six–movement Wild Man Dance Suite was recorded in its premiere performance at the festival and features pianist Gerald Clayton, bassist Joe Sanders, and drummer Gerald Cleaver, as well as Greek lyra virtuoso Sokratis Sinopoulos and Hungarian cimbalom maestro Miklós Lukács, who color and texture and rhythmically charge the music. Lloyd's compositions are at turns elegant, graceful, turbulent, dynamic, meditative, pacific and emotive. The music evokes a sense of transcendence and mysterious journey from the opening ''Flying Over the Odra Valley'' that spotlights Lukács's cosmic hammered delivery as well as the leader's tenor saxophone brio, to the lyricism and dynamics of the epic ''Wild Man Dance'' finale where all the band members gracefully and gleefully converse.
:: http://www.amazon.com/Wild-Man-Dance-Charles-Lloyd/dp/B00SSGLIB8
↑ Wild Man Dance marks Charles Lloyd's return to Blue Note after nearly 30 years. ↑ The work, a six–part suite, was commissioned by the Jazztopad Festival in Wrocĺaw, Poland in 2013 and premiered and was recorded there. The composer is accompanied by an international cast. The American rhythm section — pianist Gerald Clayton, bassist Joe Sanders, and longtime drummer Eric Harland — are appended by Greek lyra player Sokratis Sinopoulos and Hungarian Miklos Lukacs on cimbalom. The music here seamlessly melds creative, modally influenced jazz and folk forms, a near classical sense of dynamics, and adventurous improvisation. The long opener "Flying Over the Odra Valley" opens with mysterious interplay between cimbalom and lyra before the bass, drum, and Clayton's elliptical piano enter in a collective rhythmic improvisation on folk drones. Lloyd begins his solo a little over three minutes in. He finds a melody from the heart of the droning center and begins to elaborate upon it as the other instruments gradually rise to meet him. Harland's gently rolling tom–toms, kick drum, and whispering cymbals accent Sanders, who takes a woody solo. It is framed by gently dissonant piano chords that erect themselves into a labyrinthine solo flight. When Lloyd re–enters, it is to re–establish the melodic modal center before Sinopoulos takes it out and helps to introduce "Gardner." Throughout the suite, Lloyd juxtaposes jazz with vanguard textures and the ghosts of sounds and musics from antiquity. Clayton introduces "Lark" with a solo that recalls the meditative yet expressive questioning of Olivier Messiaen's bird songs before bowed bass, lyra, and cimbalom lushly illustrate it without sacrificing the tune's spectral quality. "River" contains a gentle intro, which becomes the vehicle for knotty, swinging post–bop, and later, pulsing free group improvisation highlighted by killer playing byClayton, Harland, and Lukacs. And while the title track closer also begins slowly, with gorgeous Webster–esque ballad playing from Lloyd, it winds out into a kinetic, freewheeling exploration of tone, timbre, and color and a wonderful solo by Sinopoulos. Wild Man Dance is a success on virtually every level. Its vision is vast, but never indulgent; Lloyd's music is relatable and communicative throughout. It spreads farther than ever before to embrace other musical forms without forsaking jazz. Though Wild Man Dance is on Blue Note, it nonetheless reflects the spiritual and aesthetic qualities nurtured during Lloyd's 16–album tenure at Manfred Eicher's ECM, and extends them with musical restlessness and fearless willingness. This inspiring suite is a landmark in an already extensive creative journey that readily embraces the unknown. :: http://www.bluenote.com/
Other press:
↑ "(Lloyd's) new Wild Man Dance Suite featured Greek lyra and Hungarian cimbalom but this was not some world–music mash–up, the instruments simply adding new colours to Lloyd’s meditative, soulful reveries. He leads a brilliant young band, who played with an intricate delicacy. " — The Times (London)
↑ "A Charles Lloyd concert like (Wild Man Dance Suite) leaves you feeling joyful, spiritually refreshed. " — Jazz Journal UK
Website: http://www.charleslloyd.com/
Facebook: https://www.facebook.com/CharlesLloydSax
Blue Note: http://www.bluenote.com/spotlight/charles-lloyds-wild-man-dance
Agent: Dorothy Darr —
↑ Music is a healing force. It has the ability to transcend boundaries, it can touch the heart directly, it can speak to a depth of the spirit where no words are needed. It is a most powerful form of communication and expression of beauty. Whether in context of my "New Quaret" with Jason Moran, Reuben Rogers, and Eric Harland, or Sangam, with Zakir Hussain and Eric Harland, or with Maria Farantouri, it gives me great joy to make music with each of them. Each time we play together there is a healing wholeness that permeates the atmosphere.
We must go forward, all the great ones that went before us insisted on this. For each generation, it is incumbent upon us to rise up and sing the song — the journey and pursuit is unending. I will always remember that from his death bed Master Higgins told me “We must continue to work on this music,” and as long as I am able, I will continue to do so. Each of us has his own experience, and from that experience, something is transmitted. For me, the purpose of life is to know God and the struggle of spiritual life will go on as long as I have breath. The pursuit and the music are one.
Yours in the music,
Charles Lloyd
NEA Jazz Master Charles Lloyd / http://jazztimes.com/articles/144922-arrows-into-infinity-the-new-charles-lloyd-documentary-reviewed / https://www.youtube.com/watch?v=3-5ON-VMF9Y
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