[rating=4.00]
73 years into this life, Charles Lloyd is truly the master of soul-fired saxophone – and the ability to infuse an ensemble with that same vibe. With Mirror, the first studio effort from Lloyd’s present band (their recorded debut was 2008’s live Rabo de Nube), the music is rich and full; both easily digestible and as deep as you want it to be at the same time.
Lloyd may already have a lifetime of musical statements behind him but he still has much to say. His playing on Mirror ranges from adventurous to way deep into the core of the heart (e.g. the trip of “Tagi” and the sweetness of “I Fall In Love Too Easily”). And whether it’s one of his own originals or a piece by composers ranging from Brian Wilson (“Caroline, No”) to Thelonious Monk (represented here by “Ruby, My Dear” and “Monk’s Mood”), Lloyd’s total absorption of the essence of each piece comes across in his playing.
And what about Lloyd’s band – none of whom had been born when the saxophonist’s landmark Forest Flower album was released in 1967? (Remember: this is a man who has been at the helm of line-ups that included players such as Keith Jarrett, John Abercrombie, Tony Williams, Zakir Hussain, Ron Carter, Herbie Hancock, and Jack DeJohnette.) The bottom line: Eric Harland (drums), Reuben Rogers (bass) and pianist Jason Moran are true players – and they play together well. You won’t put an ear to Mirror and think, “Those young guys are doing a pretty good job of keeping Charles Lloyd in sight” – no, no. The ensemble is a true quartet, feeding off its own inspiration and pulling in energy equally from all four corners.
Dig the off-mic banter of his bandmates as Rogers goes deep into his double-bass at the beginning of “The Water Is Wide”, pulling out big ol’ walloping gobs of cool. (Where else could they go after that but to absolute Yeahsville?) It’s Harland’s around-the-world-without-ever-leaving-the-drum-kit playing that fuels the journey on “Being And Becoming, Road To Dakshineswar With Sangeeta”, from early morning sunrise to late-night mists. Or experience Moran’s piano work on “Desolation Sound” where he supports, challenges, and inspires Lloyd’s sax and takes off to a beautiful place of his own.
Charles Lloyd has assembled a great little band – they might be multi-generational in terms of time, but they are peers when it comes to the vibe. Mirror captures the magic of the Charles Lloyd Quartet brilliantly.
