Mirror Charles Lloyd Quartet

• 1I Fall in Love Too Easily04:58
• 2Go Down Moses06:03
• 3Desolation Sound07:04
• 4La Llorona05:36
• 5Caroline, No04:05
• 6Monk's Mood05:02
• 7Mirror06:44
• 8Ruby, My Dear05:27
• 9The Water Is Wide07:20
• 10Lift Every Voice And Sing04:28
• 11Being And Becoming, Road To Dakshineswar With Sangeeta07:03
• 12Tagi09:17
• Total Runtime01:13:07

Info for Mirror

“Mirror” is the first studio album by the Lloyd-Moran-Rogers-Harland unit and it features beautiful, transformed versions of favourites including both Lloyd originals and tunes Charles has made his own over the years. There is a pair of Thelonious Monk tunes, “Ruby, My Dear” and “Monk’s Mood”, as well as hymns and traditionals including “Go Down Moses”, “Lift Every Voice And Sing”, and “The Water Is Wide”. Lloyd covers Brian Wilson’s’ “Caroline, No” (the saxophonist guested on several Beach Boys albums in the 70s, including the classic “Surf’s Up”), and plays an achingly lovely version of the standard “I Fall In Love Too Easily”. Lloyd originals include “Desolation Sound”, “Mirror”, “Tagi” (which includes a Bhagavad Gita-inspired spoken-word meditation by Lloyd) and “Being and Becoming”.

There is plenty of Lloyd’s graceful, mellifluous and poetic tenor sax: We also get to hear some of his rarely-showcased alto saxophone, the instrument that Billy Higgins called Charles’ “secret weapon”.

Many critics have opined that Lloyd’s “New Quartet”, with Jason Moran, Reuben Rogers and Eric Harland may be the best of all his groups. The quartet’s previous release in this line-up, the live-recorded “Rabo de Nube”, met with across-the-board approval and was voted #1 album of the year in both the Critics and Readers Polls of Jazz Times.

“Charles approaches the music with such openness”, pianist Jason Moran said recently. “I like playing with leaders who let you bring what you’ve got to the table, and interpret the music however you’d like. Charles is a great promoter of free-thinking music, and letting it develop on the spot.”

Charles Lloyd has always led exceptional bands, and this is one of the finest. Following on from the live “Rabo de Nube” which won both the Readers and Critics Polls of Jazz Times, here is a studio album from the quartet with Jason Moran, Reuben Rogers and Eric Harland.

Memphis-born Lloyd has played with some exceptional pianists in the course of his long career, starting with Phineas Newborn in his home town, with Joe Zawinul in the Cannonball Adderley group, and with Keith Jarrett, whom Lloyd introduced in his pioneering group of the 1960s. Subsequent Lloyd quartet pianists have included Michel Petrucciani, Bobo Stenson, and Geri Allen. Unfazed by the achievements of these distinguished predecessors, Jason Moran finds his own, exciting way to play inside Lloyd’s musical concepts. As the New York Times once observed, Moran reaches both further back in the jazz tradition and further outside it than most of his contemporaries. His strongly chordal approach and his percussive originality took off from an early interest in Thelonious Monk, but Moran (born 1975) studied with three great teachers – Jaki Byard, Andrew Hill, and Muhal Richard Abrams – who encouraged him to find his own path. He has recorded a number of critically-acclaimed albums as a leader, won a number of prizes including the Jazz Journalists Association’s Pianist of the Year Award, and performed with many great musicians from Wayne Shorter to Lee Konitz.

Jason Moran is a pianist, composer, and bandleader who mines a variety of musical styles to create adventurous, genre-crossing jazz performances. Moran’s signature corpus marries established classical, blues, and jazz techniques with the musical influences of his generation, including funk, hip-hop, and rock. On his solo piano album, Modernistic (2002), he explores the evolution of twentieth-century rhythmic techniques through his virtuosic execution of two-handed “stride” piano—a style used extensively by jazz artists in the 1920s—while Same Mother (2005) is a re-examination of the emotional and stylistic elements of the blues tradition.

Reuben Rogers was born in the Virgin Islands and grew up listening to calypso and reggae as well as jazz, exposure that seems to have impacted on the lyrical dancing swing of his bass playing. He works exceptionally well with Harland, exploring loose grooves behind Lloyd ’s solos, and speaks of the joy of “being in the music in the moment,” when the Lloyd band is improvising collectively, “without any worries, just giving it all.” A much sought after sideman, Reuben has also worked extensively with Nicholas Payton, Joshua Redman, Dianne Reeves and more.

Eric Harland is increasingly regarded as one of the most important contemporary jazz drummers. In addition to his work with Lloyd in the quartet and in the Sangam trio (with Zakir Hussain) he has played and recorded with McCoy Tyner, Pharoah Sanders, Greg Osby, Dave Holland and many others.

Booklet for Mirror