Charles Lloyd & The Marvels created layered harmonies and spontaneous interplay that far exceeded their work on their studio album I Long To See You in their ninety plus minute performance at Williams Center of the Arts at Lafayette College in Easton, PA on January 27. This is a jazz supergroup, featuring guitarist Bill Frisell, pedal steel guitarist Greg Leisz, and Lloyd’s regular rhythm section of Eric Harland on drums and Reuben Rogers on electric bass. With a program of traditional hymns, antiwar protest songs, and Lloyd originals, the emphasis was on tone and layered effects. As Lloyd soloed on tenor sax and alto flute, Frisell’s and Leisz’s solos flowed seamlessly into one another. Frisell and Leisz, of course, have played together often on Frisell’s albums and as a backing tandem for Lucinda Williams. Separately, they have played often on many roots albums and Frisell seemingly plays in every genre.
Their music was usually ballad-like, more often in a lament mode than a lively give-and-take jazz jam session. Yet, the iconic visionary Lloyd, who has played with numerous legends across blues, rock and jazz while carving out his own idiosyncratic path and who celebrates his 80th birthday this year, was Coltrane-like in many of his tenor solos, albeit with a softer, less aggressive approach. He seemed committed to make his solos part of the overall sound rather being the star soloist. His tone, accented by the gleaming guitars, was remarkably clear and pure throughout. Lloyd would lift his leg to accent certain notes and beats while Frisell used his guitar box pedals to add colors and Leisz coaxed some amazing notes from his pedal steel, often playing in a lower register than one hears on that instrument.
Among these quiet instrumental conversations, the evening’s highlight was the traditional folk tune, “Shenandoah,” arranged by Frisell and immediately recognized by the audience. There were moments between the three soloists (Lloyd, Leisz, and Frisell) as each solo was so flawlessly executed and seamlessly joined to the other, that the audience was poised to applause but thought twice, not wanting to disturb the wondrous playing. Yes, there were plenty of applause moments throughout the evening, but the performance was so mesmerizing, and the sound quality so good, that many sat in awe
Other key moments were the second selection, Lloyd’s “Of Course, O Course,” an Ornette- Coleman like syncopated tune that Lloyd played on the alto flute. The Christian hymn “Abide With Me,” once recorded by Thelonious Monk, was delivered succinctly and gorgeously. On the fifth of the nine selections, each band member soloed, with Rogers pulling rich tones from his electric bass akin to those of an upright, while Harland demonstrated a blend of power and finesse in his drum solo. At the conclusion, Lloyd introduced each band member, the only time he spoke throughout the performance.
This band’s music would be challenging for most as it is stylishly slow paced. The live performance gave a completely different dimension, however, through the deep concentration of the players, at times harmonizing and at other times improvising. There were even some moments where each was verbally encouraging the other soloist. This empathy among the players was best epitomized in Lloyd’s “Barche Lamsel” where the band was reciprocally poetic and where it was damn easy to detect that Frisell and Leisz were telepathic in their approach. They delivered some unexpected moments too. How many bands would encore with “Twinkle, Twinkle Little Star” into Dylan’s “Masters of War? “
When I spoke to Charles Lloyd afterward I told him that I was honored to have reviewed the album. He thanked me and said, “There will be many more.” In the meantime, take the opportunity to see them perform. It truly defies any easy categorization. You’ll be getting not only jazz, but some familiar tunes done so imaginatively, that you’ll be as awestruck as this audience was.
