RIGMOR GUSTAFSSON AND THE JACKY TERRASSON TRIO — Close To You > Celebrating Dionne Warwick (2004) FLAC (tracks+.cue), lossless

"Wondrous transformation of well-known soul classics into sparkling fresh jazz songs." - (JAZZTHING) ACT
Tracklist :
1        Close To You 4:01
Written-By – Bacharach/David
2        Walk On By 2:42
Written-By – Bacharach/David
3        Move Me No Mountain 3:36
Written-By – Brockman, Ragovoy
4        So Amazing 4:12
Backing Vocals – Sean
Backing Vocals, Finger Snaps, Whistling – Eric, Jacky, Nils
Finger Snaps, Whistling – Rigmor
Written-By – Luther Vandross
5        I'll Never Fall In Love Again 4:09
Written-By – Bacharach/David
6        Much Too Much 3:55
Written-By – Diane Warren
7        Odds And Ends 2:39
Written-By – Bacharach/David
8        Alfie 4:09
Written-By – Bacharach/David
9        What The World Needs Now 3:37
Written-By – Bacharach/David
10        Windows Of The World 4:52
Written-By – Bacharach/David
11        Always Something There To Remind Me 2:21
Written-By – Bacharach/David
12        Raindrops Keep Falling On My Head 3:06
Written-By – Bacharach/David
13        I Just Don't Know What To Do With Myself 3:46
Written-By – Bacharach/David
14        World Of My Dreams 3:33
Written-By – Creed, Bell
Credits :
Rigmor Gustafsson - Vocals
Jacky Terrasson - Grand Piano & Fender Rhodes
Sean Smith - Doublebass
Eric Harland -Yamaha Drums, Percussion
Nils Landgren - Trombone

RIGMOR GUSTAFSSON — Alone With You (2007) FLAC (tracks+.cue), lossless

"This fresh sound has never been so pleasing to Swedish ears before." - STEREOPLAY ACT

Not every singer who is relevant to vocal jazz is a rigid purist who completely rejects the influence of R&B, pop, and folk. There are some jazz-friendly singers who stray outside of jazz, which is what Swedish singer/songwriter Rigmor Gustafsson often does on Alone with You. Parts of this CD offer straight-ahead post-bop, while other parts are more pop-minded and/or R&B-ish and draw on influences ranging from Joni Mitchell and Laura Nyro to Stevie Wonder. And the good news is that whether Alone with You veers in a post-bop direction or more of a pop/R&B direction, this is one of Gustafsson's more consistent albums. Some of Gustafsson's releases have a reputation for being uneven, but this 2007 recording does a better job of staying on track creatively -- and that may have to do with the fact that it is a very hands-on project for her. Every melody on Alone with You was composed by Gustafsson herself, ranging from the straight-ahead post-bop of "On Higher Ground" to the jazzy pop/R&B of "Special Effects" and "Voodoo Skills" to the folkish moves of "Medan du Väntar" (which is the only Swedish-language offering on an album that is performed primary in English). Gustafsson didn't write all of the lyrics; five of the 13 tracks use the talents of other lyricists, including Swedish jazz singer Lina Nyberg on "Special Effects." But Gustafsson wrote most of the lyrics, and she definitely wrote all of the melodies on a solid effort that isn't recommended to jazz purists but is among the more memorable discs in her catalog. Alex Henderson  
Tracklist :
1. In My World - 04:15
(Rigmor Gustafsson)
2. Voodoo Skills - 04:31
(Rigmor Gustafsson / Lina Nyberg)
3. Still - 04:24
(Rigmor Gustafsson)
4. Special Effects - 02:56
(Rigmor Gustafsson)
5. Joy To Me - 03:36
(Rigmor Gustafsson / Sofia Pettersson)
6. You Don't Have To Worry - 03:54
(Rigmor Gustafsson)
7. Will Our Love Be There - 05:01
(Rigmor Gustafsson)
8. Nothing's Better Than Love - 05:25
(Rigmor Gustafsson)
9. Medan Du Väntar - 03:33
(Rigmor Gustafsson / David Shutrick)
10. Don't Do It Here - 03:09
(Rigmor Gustafsson)
11. It's All There - 04:32
(Rigmor Gustafsson / Rigmor Gustafsson, Sofia Pettersson)
12. On Higher Ground - 06:06
(Rigmor Gustafsson / Dave Castle)
13. Alone With You - 04:33
(Rigmor Gustafsson)

Personnel:

Rigmor Gustafsson – Vocals

Jonas Östholm – Piano, Organ

Max Schultz – Guitar

Lars Danielsson – Acoustic Bass

Eric Harland – Drums, Percussion 

CHARLES LLOYD - Jumping the Creek (2005) FLAC (tracks+.cue), lossless

Since making a middle-of-life comeback in the 1990s, saxophonist, composer, and bandleader Charles Lloyd has continually issued fascinating recordings. While some of them contain missteps, it's not for lack of ambition. For one of jazz's elder statesmen, Lloyd pushes his envelope of ideas about improvisation, rhythm and harmony, often to the breaking point. He is a player who sets sometimes impossibly high goals for himself, but in so doing, gives listeners something to really hold on to when encountering one of his albums or seeing him live. Jumping the Creek, which continues his association with ECM Records, is another compelling affair. The band -- pianist Geri Allen, bassist Robert Hurst and drummer Eric Harland -- is simply outstanding. Allen, particularly, hasn't shined on a record like this thus far this decade. Lloyd's compositional ideas here come from rhythmic phrases, small harmonic vamps and emotional thematics. Lloyd engages his quartet in various ways, sometimes in duets, sometimes trios, sometimes as a full band, often during the same composition. The whole quartet does engage fully on the 13-plus-minute opener "Ne Me Quitte Pas," with skeletal phrases becoming larger, striated harmonic statements as Allen uses both modal and post-bop concerns to flesh out the body of the tune. The saxophone/drums duet in "Ken Katta Ma Om," is an utterly lovely change-up that follows. The rest of the band doesn't even enter until halfway through. And Allen does this as a way of introducing a contrapuntal solo that touches upon both Andrew Hill and Lennie Tristano. The title track uses trio and quartet settings to explore the various tensions in melody. Lloyd is a master of moving from gorgeous, gently swinging balladry to blues-drenched free blowing, on a dime. "The Sufi's Tears" features Lloyd on taragato -- a soprano saxophone-like instrument used in Middle Eastern and Indian music. Accompanied only by Hurst's bowed bass, the mournful melody slips off into ether as improvisation wanders into the heart of the frame and remains. It's exotic and tight. "Georgia Bright Smile," is another long work in which the band changes configurations repeatedly in the course of its execution, winding around Lloyd's themes and Allen's painterly pianism. Hurst is particularly impressive here as he trades fours with Allen in his solo. Ultimately however, this, like Lloyd's other recordings on ECM is about emotion, feeling, and a sense of peace and serenity. Lloyd uses the rough places in his improvisations, to be sure, but it is only to make the rough places plain, limpid, utterly integrated in a serene whole. On Jumping the Creek he succeeds seamlessly and ups his own artistic ante.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1    Ne Me Quitte Pas (If You Go Away) 13'28
Composed By – Jacques Brel
2    Ken Katta Ma Om (Bright Sun Upon You) 5'44
Composed By – Charles Lloyd
3    Angel Oak Revisited 3'33
Composed By – Charles Lloyd
4    Canon Perdido 3'01
Composed By – Charles Lloyd
5    Jumping The Creek 5'56
Composed By – Charles Lloyd
6    The Sufi's Tears 3'05
Composed By – Charles Lloyd
7    Georgia Bright Suite 13'32
Composed By – Charles Lloyd
7a.    Pythagoras At Jeckyll Island
7b.    Sweet Georgia Bright
8    Come Sunday 5'51
Composed By – Duke Ellington
9    Both Veils Must Go 2'59
Composed By – Charles Lloyd
10    Song Of The Inuit 11'26
Composed By – Charles Lloyd
Credits :
Double Bass – Robert Hurst
Drums, Percussion – Eric Harland
Photography By, Design – Dorothy Darr
Piano – Geri Allen
Producer – Charles Lloyd, Dorothy Darr
Tenor Saxophone, Alto Saxophone, Tárogató [Taragato] – Charles Lloyd

CHARLES LLOYD - Sangam (2006) FLAC (image+.cue), lossless

Sangam is Charles Lloyd's 11th recording for ECM. All of these albums have been compelling in their way. They have stretched both artist and audience to varying degrees. This set, recorded live in 2004 at a theater in Santa Barbara during homage for the late Billy Higgins, was Lloyd's debut performance with Indian tabla master Zakir Hussain (Shakti), and drummer/percussionist Eric Harland (Lloyd's quartet drummer). What started as a one-off by three players brought together for one purpose has become Sangam, a going concern. This music, while rooted in the rhythms of the world, is jazz without a doubt. Lloyd plays everything from tenor and soprano to flutes, taragato, piano, and some percussion. While Lloyd is the centerpiece and is the melodic and harmonic bridge, what's on offer here is something truly unexpected, something wildly original and essential to jazz-improvisatory communication: the interplay between Harlan's trap drums and Hussain's tablas is utterly astonishing. The rhythm section sings, squawks, whispers, and cries, and Lloyd, in his grace, plays his ass off while making plenty of room for this rather miraculous interaction. There is complete freedom here between percussive voices. Lloyd's allowance for, and encouragement of that space is remarkable for any leader, but his willingness to let the music unfold and happen is compelling, magical, and gives true definition to the term "Sangam," a defintion, according to the liner notes, of "confluence and coming together." The entire soloist rhythm section idea has been tossed. It means less than nothing here, and probably didn't occur to any of the players once the music began happening. The jam opens with Lloyd on taragato for "Dancing on One Foot," digging deep in acknowledging upfront the ensemble's debt to Eastern origins. But it goes so much further. "Tales of Rumi" is pure flow. Lloyd's tenor playing through modes and tonalities from the blues to Sufi music, with Hussain setting a pulse that Harland underscores, improvises upon, and then creates another pulse where Hussain takes off and creates yet another rhythm and its mirror image, as Lloyd listens deeply and sings the song. "Sangam" is introduced by a dialogue between Harland and Hussain, setting some otherworldly space for Lloyd to enter. He falls into their folded dimensionality and begins from the heart of their dialogue on his tenor. One can hear the Coltrane of "Africa" here, as well as Eric Dolphy's bop-stretched harmonics. But most importantly, one can hear Lloyd, his voice so sure-footed, his ear so finely tuned to what is happening around him that he allows himself to be carried by that stream of percussive ideas and accents as he hears them, and speaks something deep, definite, and open in order to prod the pair on. It goes like this for the entire 65 minutes. From one place lyric and melodious that breaks through to another song form as yet unheard in this piece by anyone playing it ("Hymn to the Mother") to another full of ritual space and Indian classicism -- Hussain's "Guman," that pays homage to the discipline of his father -- the effect is the same: its mystery is revealed as it happens, and creates as many questions as it answers. There is a jazzman's sense of adventure in all of this, however, and Lloyd, Hussain, and Harland honor that spirit and, as always, knowing the music's great generosity of spirit, brings in everything that feels right while freely giving props -- sonically -- to the territories it derives that inspiration and generosity from.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1    Dancing On One Foot    9:04
Charles Lloyd
2    Tales Of Rumi    11:58
Charles Lloyd
3    Sangam    9:20
Charles Lloyd
4    Nataraj    2:47
Charles Lloyd
5    Guman    11:40
Zakir Hussain
6    Tender Warriors    8:56
Charles Lloyd
7    Hymn To The Mother    11:49
Charles Lloyd
8    Lady In The Harbor    3:27
Charles Lloyd
9    Little Peace    5:53
Charles Lloyd
Credits :
Drums, Percussion, Piano – Eric Harland
Executive-Producer – Manfred Eicher
Photography By – Dorothy Darr
Producer – Charles Lloyd, Dorothy Darr
Tabla, Voice, Percussion – Zakir Hussain
Tenor Saxophone, Alto Saxophone, Tárogató [Tarogato], Bass Flute, Alto Flute, Piano, Percussion – Charles Lloyd

CHARLES LLOYD QUARTET - Rabo de Nube (2008) FLAC (tracks+.cue), lossless

Given that Charles Lloyd has been recording for Manfred Eicher's ECM label since 1989, it seems odd that Rabo de Nube (translation: Tail of a Cloud) is his first live quartet outing for the imprint, though he's done so in other combinations. Yet, given that this recording was issued a mere four days before the great saxophonist's 70th birthday, it is also a full circle of sorts for the Lloyd Quartet. Most of Lloyd's early quartet albums were recorded live for Atlantic between 1966 and 1968, seven in total, with the live band recording its first date over 40 years ago and featuring a young Keith Jarrett as its pianist. This association became a blueprint of sorts for a lineage of his subsequent pianists who have all gone on to their own measures of excellence as leaders: Michel Petrucciani, Bobo Stenson, Brad Mehldau, and Geri Allen. Jason Moran, the pianist here, is a leader in his own right, having also played with Wayne Shorter and Lee Konitz, to name just two; more importantly, his teachers offer a clue as to how his highly individual voice was developed -- Andrew Hill, Jaki Byard, and Muhal Richard Abrams. Moran joins Lloyd and longtime -- and immensely gifted -- drummer Eric Harland (who went to high school with Moran in Houston) and new bassist Ruben Rogers, who has previously been a member of groups led by the late Jackie McLean, Roy Hargrove, and Mulgrew Miller.

Recorded in Basel during the band's European tour in 2007, the band takes a very different approach to some familiar tunes. For starters, it has to do with style: Moran is a more physical player than many of the pianists Lloyd has employed in the past; his playing is more chord-oriented and percussive, less elegant and soulful than Allen's perhaps, less ornate than Petrucciani's, and certainly less contemplative than Stenson's. The material choices are wide-ranging. There's the hard-blowing "Prometheus," on which Lloyd and Moran walk the margins of free jazz as Harland pushes them toward it and Rogers holds down a flowing rhythmic tempo, elaborating on the choruses juxtaposing rhythm and harmonic investigation. Another blower on the set is "Sweet Georgia Bright," which Lloyd has played live in the past, but was first recorded when he was a member of Cannonball Adderley's group in 1964 with pianist Joe Zawinul. Moran's funky, hard-driving solo and the interplay of the rhythm section are remarkable. Lloyd's immense ability to soar with a nugget like this, influsing it with new fire is an asterisk that highlights his place as one of the true (if largely unsung) masters of the horn. Lloyd's alto flute gets a beautiful workout on "Booker's Garden," written for classmate Booker Little. His lyricism is only eclipsed by his deep soul groove -- which Moran takes to the bank in his own solo that lends the tune a different dynamic, one much bolder and centered in the middle of the keyboard. The playing by Rogers on the track is beautiful, using a Caribbean rhythmic pulse that allows Harland to dance around the soloists and make the backbeat slippery and fluid.

The closing title track was offered in a live quintet version on Lift Every Voice, the pickup band album recorded four days after 9/11. This one is quieter, sweeter, and more lyric and gentle, and a perfect way to end a show -- it is also the only non-original on the set. Fans of Lloyd's taragato playing will not be disappointed; it makes a grand appearance on the lengthy "Ramanujan." Moran's interaction and contrapuntal rhythmic exchanges with Harland are something to behold here; they push around and through one another in a call-and-response interchange that is subtle but forceful nonetheless. Rogers' way of playing between these two is like that of a telephone wire, bringing it all together. Of the seven tunes here, five are over ten minutes long. In other words, there is a lot of improvisation going on, but it is all deeply communicative and lyrical -- Lloyd's trademark for the last five decades as a composer, soloist, arranger, and bandleader. Ultimately, Rabo de Nube is yet another essential Lloyd offering from ECM. His sense of adventure is greater than ever, and his embrace of the tradition is equaled by his willingness to stretch it, bend it, turn it every which way but break it -- this band, with its energy and commitment to new jazz, is well-suited for that task and Moran certainly adds to the bounty considerably. Lloyd shows no signs of slowing down or simple contentment as he ages, and we are all the more fortunate for it.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1    Prometheus    14:43
Charles Lloyd
2    Migration Of Spirit    10:15
Charles Lloyd
3    Booker's Garden    14:33
Charles Lloyd
4    Ramanujan    11:38
Charles Lloyd
5    La Colline De Monk    4:01
Charles Lloyd
6    Sweet Georgia Bright    12:17
Charles Lloyd
7    Rabo De Nube    7:36
Silvio Rodríguez Domínguez
Credits :
Double Bass – Reuben Rogers
Drums, Percussion – Eric Harland
Piano – Jason Moran
Tenor Saxophone, Alto Flute, Tárogató – Charles Lloyd

CHARLES LLOYD QUARTET - Mirror (2010) FLAC (tracks+.cue), lossless

When Charles Lloyd showcased his quartet in a live setting on 2008's Rabo de Nube, it was one of the more exciting, free-flowing dates of that year. It was physical, full of intense engagement and fiery energy. On that date, he performed a number of tunes he'd recorded before, along with new compositions. Mirror, recorded with the same band -- drummer Eric Harland, pianist Jason Moran, and bassist Reuben Rogers -- in a Santa Barbara studio, is, as the title suggests, a mirror image of the previous outing. Here too, the saxophonist revisits some older material with, thanks in large part to his sidemen, new ears. The material is mostly gently swinging ballads and outré investigations showcasing an even more spiritual side to Lloyd's playing and arranging. But it also displays the great intuitive nuances this band is capable of. While the set opens with an elegant and gently swinging reading of the standard "I Fall in Love Too Easily," it's the follow-up, the spiritual "Go Down Moses," that showcases the group's persona with its modal, questioning concerns, while keeping the tune firmly in the church. The title track appeared on 1989's Canto, and is here performed with the kind of deep commitment and sense of interdependent energy only time and wisdom can impart. Another tune from that album, "Desolation Sound," while still a ballad, features a lot more engagement from the players here: Moran's solo looks in and through the changes to find a way outside and gets there. Harland's shimmering breaks add more crackle than on the original. Likewise, "The Water Is Wide" and "Lift Every Voice and Sing" are performed, in their restrained way, more energetically than they were on their respective albums. One of Mirror's great surprises is a tender reading of the Beach Boys' "Caroline, No." While the melody is inescapable, Lloyd very quickly transforms it into a jazz ballad of haunting, romantic beauty. On a pair of Monk tunes here -- "Ruby, My Dear" and "Monk's Mood" -- Moran's own musical personality is given free rein. He expresses it with his deft senses of rhythmic and harmonic intuition, underscoring unexpected phrases and elaborating on others. Ultimately, Mirror is another Lloyd triumph. It may not shake the rafters with its kinetics, but it does dazzle with the utterly symbiotic interplay between leader and sidemen.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1     I Fall in Love Too Easily 5'00
Sammy Cahn / Jule Styne
2     Go Down Moses 5'59
Traditional    
3     Desolation Sound 7'03
Charles Lloyd    
4     La Llorona 5'35
Traditional    
5     Caroline, No 4'02
Tony Asher / Brian Wilson    
6     Monk's Mood 5'01
Thelonious Monk
7     Mirror 6'42
Charles Lloyd
8     Ruby, My Dear 5'25
Thelonious Monk
9     The Water Is Wide 7'19
Traditional    
10     Lift Every Voice and Sing 4'29
James Weldon Johnson / John R. Johnson    
11     Being and Becoming 7'02
Charles Lloyd    
12     Tagi 9'17
Charles Lloyd
Credits :
Double Bass – Reuben Rogers
Drums, Voice – Eric Harland
Executive-Producer – Manfred Eicher
Photography By – Dorothy Darr
Piano – Jason Moran
Producer – Charles Lloyd, Dorothy Darr
Tenor Saxophone, Alto Saxophone, Voice – Charles

CHARLES LLOYD | MARIA FARANTOURI - Athens Concert (2011) 2xCD | FLAC (tracks+.cue), lossless

No one, save for perhaps Charles Lloyd, could have predicted that when he resumed his recording career in 1989 with ECM, he would scale such artistic heights as a player, a mentor, and a bandleader. Lloyd has taken part in many fascinating musical experiments: with the late Billy Higgins in Sangam with drummer Eric Harland and Indian master percussionist Zakir Hussain, as well as on his many quartet recordings. The latest version, with bassist Reuben Rodgers, Harland, and pianist Jason Moran, has been together just over four years. It should come as no surprise then, that The Athens Concert, a double disc with the truly legendary Greek contralto Maria Farantouri, is as full of the exploratory wonder and delight as his other dates for the label. Farantouri is regarded in her own country as Edith Piaf was in France. Lloyd's band and Farantouri are assisted by Socratis Sinopoulos on lyra. "Kratissa Toi Zoi Mou (I Kept a Hold of My Life)," is a tune by Mikis Theodorakis set to a poem by George Seferis. Versions of Lloyd's "Dream Weaver" and "Prayer" are the only real instrumental tracks, and his song "Blow Wind" contains lyrics sung in English by Farantouri. The tune "Requiem" is a jazz number with lyrics by the famed writer/lyricist Agathi Dimitrouka. The three-part, 15-song Greek Suite takes up the lion's share of the performance. It is comprised of tunes that range from a Byzantine-era hymn to traditional songs from various regions of Greece, two more Theodorakis tunes, and one by composer Eleni Karaindrou (also an ECM artist) entitled "Voyage to Cythera." The suite was arranged by Takis Farazis, who also plays an additional piano on set-closer "Yanni Mou," and with Sinopoulos, bridges the two traditions. There isn't anything to really describe this music other than to say it is equally out of historical time and simultaneously concurrent within its stream. The two musical traditions -- post-millennial jazz and those of Greece's various eras and regions -- are made seamless, creating an entirely new and singular work that is dramatic, subtle, completely soulful, and full of startling musicianship. Indeed, the quartet plays this music as if it were part of their standard repertoire for a very special occasion. Improvisation, harmonic invention, and Lloyd's singular sense of leadership don't demand fine performances from his players; they are given freely. In turn, he offers his finest to Farantouri, who brings the collective bounty to the listening audience. The Athens Concert is truly inspirational and quite a watermark in a career full of them for Lloyd.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist 1 :
1    Kratissa Ti Zoi Mou (I Kept Hold Of My Life) 5'59
Lyrics By [Poem By] – George Seferis
Music By – Mikis Theodorakis
2    Dream Weaver (Hyfantis Oneiron) 8'10
Music By – Charles Lloyd
3    Blow Wind (Fyssa Ayeri) 5'34
Lyrics By, Music By – Charles Lloyd
4    Requiem 5'57
Lyrics By – Agathi Dimitrouka
Music By – Charles Lloyd
Greek Suite, Part I    
5    Hymnos Stin Ayia Triada (Hymn To The Holy Trinity) 4'03
[Early Byzantine Hymn] – Traditional
6    Epano Sto Xero Homa (In The Dry Soil) 2'52
Lyrics By, Music By – Mikis Theodorakis
7    Messa Stous Paradissious Kipous (In The Paradise Gardens) 4'49
Lyrics By, Music By – Mikis Theodorakis
8    Taxidi Sta Kythera (Voyage To Cythera) 4'35
Lyrics By, Music By – Eleni Karaindrou
Tracklist 2 :
1    Prayer (Prosethi) 7'58
Music By – Charles Lloyd
Greek Suite, Part II    
2    Vlefaro Mou (Oh Eyelid) 3'32
Lyrics By – Lina Nikolakopoulou
Music By – Nikos Kypourgos
3    Margaritarenia 1'29
Traditional From Smyrna
4    Thalassaki Mou (My Little Sea) 2'57
Composed By – Traditional From Dodecanese Islands
Greek Suite, Part III    
5    Epirotiko Meroloi (Lament From Epirus Region) 6'28
[Lament From Epirus Region] – Traditional
6    Kægomæ Kæ Sigoliano (I Burn And Slowly Melt) 5'00
Traditional From Epirus Region
7    Mori Kontoula Lemonia (Little Lemon Tree) 2'40
Traditional From Epirus Region
8    Alismono Kæ Hæromæ (I Forget And I Am Glad) 3'08
Composed By – Traditional From Epirus Region
9    Tou Hel' To Kastron (The Castle Of The Sun) 4'28
Traditional From The Black Sea
10    Yanni Mou (My Yanni) 7'27
Composed By – Traditional From Epirus Region
Piano [Additional Piano] – Takis Farazis
Credits :
Double Bass – Reuben Rogers
Drums – Eric Harland
Lyre [Lyra] – Socratis Sinopoulos
Piano – Jason Moran
Piano [Additional Piano], Arranged By [Arrangements Of The Greek Suite] – Takis Farazis (pistas: 1-5 to 1-7, 2-2 to 2-9)
Producer – Dorothy Darr, Manfred Eicher
Saxophone, Flute, Tárogató [Tarogato] – Charles Lloyd
Voice – Maria Farantouri

CHARLES LLOYD & THE MARVELS - I Long to See You (2016) Digipack | FLAC (tracks+.cue), lossless

Saxophonist Charles Lloyd has been working with guitarists periodically since the 1950s: Calvin Newborn, Gabor Szabo, John Abercrombie, and others have played in his bands. On I Long to See You, he (with his stellar rhythm section -- bassist Reuben Rogers and drummer Eric Harland) renews that relationship with two gifted players: Bill Frisell and Greg Leisz (the latter on lap and pedal steel). This program yields folk and spiritual songs, re-recordings of Lloyd's own tunes, a pop nugget, and a new original. In what feels like the input from the label, there are two guest vocal appearances to boot: Willie Nelson beautifully delivers Ed McCurdy's antiwar classic "Last Night I Had the Strangest Dream," and Norah Jones offers a slow, dreamy reading of "You Are So Beautiful." I Long to See You feels more like a collaboration between Lloyd and Frisell than a leader date, which is sometimes problematic: these men can be overly deferential to one another. The album starts promisingly with a brooding read of Bob Dylan's "Masters of War" that threatens to explode at any moment. Frisell and Leisz (who have worked together a lot) take it through deep winding blues, building tension before Lloyd enters and carries it toward the outside before returning to blues, while Harland's circular drumming becomes somberly hypnotic. Lloyd plays flute on "Of Course, of Course" (originally recorded for an album of the same name for Columbia in 1964). Like its predecessor, it's tough, swinging post-bop with colorful slide guitar work and rim-shot syncopations. "La Llorona," from Lloyd's ECM years, is a standout: it captures his open, mournful, Spanish-tinged wail, fleshed out by elegant, timbral guitars, a sad bassline, and Harland's magical timekeeping. "Shenandoah" (which Frisell has recorded before), "All My Trials," and "Abide with Me" are all melodically attractive, but they lack the undercurrent of passion Lloyd has imbued traditional material with in the past. He and Frisell appear so seduced by their melodies, they treat them as fragile objects, not songs whose meanings need to be further explored. Frisell's speculative solo intro on "Sombrero Sam" is overly long; Lloyd's rhythmic sweeping flute doesn't enter until five minutes in, and slips out too quickly. The lone new tune, "Barche Lamsel," more than compensates. Over 16 minutes in length, it's easily the most exploratory thing here. It commences slowly but starts cooking five minutes in. Lloyd and the rhythm section are at their modal improvisational best, moving through folk, funk, blues, Eastern modes, and post-bop. Frisell and Leisz lend fine solos as well as layered textural and atmospheric support. The tune is a journey that ends in a question mark. I Long to See You is well worth investigating even if, at times, it is overly tentative.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1    Masters of War 8'05
Bob Dylan   
2     Of Course, of Course 6'03
Charles Lloyd   
3     La Llorona 6'02
Traditional   
4     Shenandoah 6'23
Traditional   
5     Sombrero Sam 7'31
Charles Lloyd   
6     All My Trials 5'02
Traditional   
7     Last Night I Had the Strangest Dream 4'48
Ed McCurdy   
8     Abide with Me 1'22
Traditional   
9     You Are So Beautiful 6'05
Bruce Fisher / Billy Preston   
10     Barche Lamsel 16'25
Charles Lloyd
Credits :
Bass – Reuben Rogers
Drums – Eric Harland
Featuring, Vocals – Norah Jones (pistas: 9)
Featuring, Vocals, Guitar – Willie Nelson (pistas: 7)
Guitar – Bill Frisell
Producer [Produced By] – Charles Lloyd, Don Was, Dorothy Darr
Steel Guitar – Greg Leisz
Tenor Saxophone, Alto Flute – Charles Lloyd

CHARLES LLOYD NEW QUARTET - Passin' Thru (2017) FLAC (tracks+.cue), lossless

Though the Charles Lloyd New Quartet has been together for a decade, they haven't recorded as a group since 2011's Athens Concert, when the saxophonist was still signed to ECM. Bassist Reuben Rogers and drummer Eric Harland were part of the Marvels' quintet for I Long to See You in 2016, and Lloyd most recently recorded with pianist Jason Moran on the duet offering Hagar's Song (also issued by ECM) in 2013. But not recording together doesn't mean the same thing as not playing, as amply evidenced here.

Passin' Thru finds the great saxophonist looking back through his catalog as well as offering new material. Set-opener "Dream Weaver," the set's longest track, served as the title cut of Lloyd's very first quartet leader date in 1966 (with Keith Jarrett, Jack DeJohnette, and bassist Cecil McBee). It is also the outlier in terms of locale, recorded at the Montreux Jazz Festival while the remainder was captured at The Lensic in Sante Fe. This version commences with a modal, post-Coltrane intro as the saxophonist explores tones and space before Harland checks into its groove, one that touches on blues, folk music, a pop-style chorus and gospel before moving off to explore Eastern modalities, post-bop, and (some) dissonance before circling back to its lovely melody. "Nu Blues" is a striking fingerpopper that flirts with bop and R&B as well as the outside, giving plenty of room to Moran's fluid, virtuosic pianism and Harland's hard-swinging drum inventions as Rogers walks the hell out of his bass. His bassline introduces the bluesy "Tagore on the Delta." Moran spends its first half strumming the instruments strings zither-like as Lloyd digs deep into the groove with his flute, finding heat in Harland's heavy snare and hi-hat attack. At the midpoint, Moran moves to the keys and delivers a mean, meaty solo. The title track dates to 1963. Lloyd first recorded it as a member of the Chico Hamilton Quintet. Rogers opens it alternately plucking and strumming his strings, flirting with blues as well as modalism before Harland enters in double time, playing rim shots and accents. Moran adds a popping a chordal pattern before Lloyd enters and moves to the center, offering it as a quick, dance-like excursion into bop. Moran's solo is equal parts lightning and grace while Rogers engages him in trading fours before Lloyd -- ever the generous bandleader -- inspired by Harland, duets with him in startling feat of athletic lyricism. While this heart stopper could easily have been the album closer, it finishes with "Shiva's Prayer": a droning, abstracted meditative piece that includes lovely arco playing from Rogers. At 79, Lloyd shows no signs of slowing down. On Passin Thru', his quartet delivers a truckload of joy, grit, grace, and passion.
|>This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<|
Tracklist :
1    Dream Weaver    17:45
2    Part 5, Ruminations    11:54
3    Nu Blues    11:51
4    How Can I Tell You    9:46
5    Tagore On The Delta    7:45
6    Passin' Thru    7:22
7    Shiva Prayer    8:24
Credits :
Bass – Reuben Rogers
Saxophone, Flute, Composed By, Producer – Charles Lloyd
Design, Photography By, Producer – Dorothy Darr
Drums – Eric Harland
Piano – Jason Moran

CHARLES LLOYD & THE MARVELS + LUCINDA WILLIAMS - Vanished Gardens (2018) FLAC (tracks+.cue), lossless

On Charles Lloyd & the Marvels 2016 debut, I Long to See You, the ensemble -- the saxophonist's rhythm section, drummer Eric Harland and bassist Reuben Rogers, and guitarists Bill Frisell and Greg Leisz -- delivered an honorable but overly deferential outing that somewhat belied the promise of its personnel. On Vanished Gardens, the Marvels leave deference in the dustbin. Here, with the assistance of Lucinda Williams, they create a music that draws on the sum total of experience and shared emotion. Lloyd, Frisell, and Leisz have all worked with rockers and country and blues players, while Harland and Rogers are jazz modernists rooted in tradition. The addition of Williams on four of her own tunes and a cover of Jimi Hendrix's "Angel" transforms this band into a genre-blurring ensemble whose abilities mine the jazz and Americana traditions to redefine them in the new century.

"Defiant" commences as an extended showcase for Lloyd's modal and melodic soloing with loping pedal steel inside a 4/4 shuffle with Frisell's lonesome, lyrical playing. Williams enters on "Dust." The song originally appeared on 2016's Ghosts of Highway 20. In waltz time, Frisell's rockist power chords and Leisz's lap steel wails meet Lloyd's swirling, loping tenor that offers blues vamps amid post-bop swells to frame Williams' haunted, grainy vocal as she sings: "You couldn’t cry if you wanted to/Even your thoughts are dust," before erupting in a post-Coltrane solo with Frisell climbing behind him. The title track, with its skittering rhythms, wavelike pedal steel passes, and matched solos by Frisell and Lloyd, is a bluesy exercise in improvisation. The arrangement in Williams' "Ventura," (that appeared on West), remains startlingly close to that of the original, but Lloyd's soulful phrasing undergirds her singing with a particularly Southern grace. The inclusion of the standard "Ballad of the Sad Young Men" feels like an outlier. It's a skeletal, impressionistic ballad that lacks an anchoring center, it simply hovers and floats. Not so with the singer's raggedy gospel in "We've Come Too Far to Turn Around," where the weariness in the lyric meets the band's ability to braid Williams' voice with an emotional color palette that matches her own. The 11-plus-minute reading of her "Unsuffer Me" is the perfect meld of rock, blues, and modern post-bop jazz as both guitarists engage one another and Lloyd, who serves as the bridge between them and the singer with squeals, blurts, and flutters with his moaning horn. "Monk's Mood" is lovely, but only because of Lloyd's playing. The closing Hendrix cover is presented as a country-gospel meditation on love and eternity. Williams treats the tune as if it were her own; Frisell and Leisz surround her in soft, luxuriant textures as Lloyd accompanies her in a kind of spacy, hooky duet. Interestingly, the uneven moments on Vanished Gardens have more to do with the Marvels' reticence on the standards. Otherwise, the pairing of this band with Williams sounds natural, effortless, and holistic. There's definitely room for a sequel.
|>This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<|
Tracklist :
1    Defiant 8'41
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Tenor Saxophone – Charles Lloyd
Written-By – Charles Lloyd
2    Dust 7'58
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Tenor Saxophone – Charles Lloyd
Vocals – Lucinda Williams
Written-By – Lucinda Williams
3    Vanished Gardens 9'03
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar, Dobro – Greg Leisz
Tenor Saxophone – Charles Lloyd
Written-By – Charles Lloyd
4    Ventura 6'22
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Tenor Saxophone – Charles Lloyd
Vocals – Lucinda Williams
Written-By – Lucinda Williams
5    Ballad Of The Sad Young Men 6'17
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Tenor Saxophone – Charles Lloyd
Written-By – Fran Landesman, Tommy Wolf
6    We've Come Too Far To Turn Around 6'30
Bass – Reuben Rogers
Dobro – Greg Leisz
Drums – Eric Harland
Guitar – Bill Frisell
Tenor Saxophone – Charles Lloyd
Vocals – Lucinda Williams
Written-By – Lucinda Williams
7    Blues For Langston And LaRue 5'38
Alto Flute – Charles Lloyd
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Written-By – Charles Lloyd
8    Unsuffer Me 11'42
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Tenor Saxophone, Vocals [Ghost Vocals] – Charles Lloyd
Vocals – Lucinda Williams
Written-By – Lucinda Williams
9    Monk's Mood 5'15
Guitar – Bill Frisell
Tenor Saxophone – Charles Lloyd
Written-By – Thelonious Monk
10    Angel 5'53
Guitar – Bill Frisell
Tenor Saxophone – Charles Lloyd
Vocals – Lucinda Williams
Written-By – Jimi Hendrix

CHARLES LLOYD - 8 : Kindred Spirits Live at the Lobero Theatre (2020) FLAC (tracks+.cue), lossless

Saxophonist and composer Charles Lloyd celebrated his 80th birthday in 2018. His wife and manager Dorothy Darr decided to commemorate it with a series of shows that would, in and of themselves, be remarkable celebrations. 8: Kindred Spirits Live at the Libero was cut at the 150-year-old Libero Theater in Santa Barbara on March 15 (his actual birthday). Lloyd was in the company of a stellar band that included longtime drummer Eric Harland, and more recent companions pianist Gerald Clayton, bassist Reuben Rogers, and guitarist Julian Lage. He was joined during the second set by organist Booker T. Jones and Blue Note boss Don Was. The full show was released as an expensive, limited-edition package that included three LPs, two compact discs, and a DVD of the entire performance, along with a whopping 96-page hardcover book and a pair of photo prints. This standard version contains both an audio disc and a DVD (or a pair of LPs) and a visual disc that features the concert’s first set sans guests, but it's quite strong on its own.

It opens with Lloyd's biggest "hit," a 20-plus minute version of "Dream Weaver," originally recorded in the mid-'60s. Its first five minutes are spent in warm yet abstract improvisation; Lloyd engages sound more than song. Clayton's ostinato ring & roll prompts Lage to deliver tight arpeggios atop Rogers' modal bass and Harland's intricate cymbal and snare play. At five minutes, Lloyd delivers a mantra-like phrase three times then engages the tune's melody. The band finds it quickly and settles into a simmering, song-like exchange; all players wind through and around one another, taking turns soloing before returning to the lucid groove. "Requiem," issued on Notes from Big Sur in 1992, finds the saxophonist delving deeply into the blues in both the intro and his solo, while Lage delivers a shadowy exercise in post-bop's scalar harmonics. The Mexican folk standard "La Llorona" has been with Lloyd since the beginning, though he didn't cut it in the studio until 2016. The frontline of Clayton (who at times gets his piano to sound like a marimba) and Lage offers a quiet drama and tension like a spell, until Harland sets it all free with his consummate fills and accents. The saxophonist enters at 5:33 and moans through his own lyric statement of the theme, adding whispers and wails, and turning it into an emotional watershed, especially when he quotes form "'Round Midnight." The closer, "Part 5: Ruminations," is a relatively new tune. Its early minutes are spent in improvisation, with Lloyd touching on mentors Coltrane, Rollins, Ben Webster, and Coleman Hawkins before Lage and Clayton push into the melody and swing it as Rogers states the groove. There are duo improvs between Lloyd and Lage (the latter's solo is magnificent), the guitarist and Clayton; Harland and Lloyd; Rogers and Lloyd, etc. At over 18 minutes, it is at once exploratory and accessible. This edition comes with its own 40-page hardbound book of photos that include stirring moments of now-absent figures from Lloyd's long life: pianist Michel Petrucciani, guitarist John Abercrombie, and drummer Billy Higgins. Arguably, this edition of 8: Kindred Spirits, though only a first set, is one of Lloyd's strongest live offerings to date.
|>This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<|
Tracklist :
1     Dream Weaver 21:05
Charles Lloyd    
2     Requiem 11:32
Charles Lloyd    
3     La Llorona 9:03
Traditional    
4     Ruminations, Pt. 5 18:09
Charles Lloyd
Credits :
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Julian Lage
Piano – Gerald Clayton
Saxophone – Charles Lloyd

CHARLES LLOYD & the MARVELS - Tone Poem (2021) FLAC (tracks+.cue), lossless

Tone Poem is the third album by saxophonist Charles Lloyd's Americana jazz quintet the Marvels -- guitarist Bill Frisell, pedal steel guitarist Greg Leisz, bassist Reuben Rogers, and drummer Eric Harland. Cut over several years in California studios and from a Madrid stage, it comprises six covers and three Lloyd originals. The album marks the first time the band have recorded without singers. At 82, Lloyd is a master of the form who knows what he wants from his sidemen and how to get it.

Reinventions of two Ornette Coleman classics introduce the set. The composer's bluesy feel comes through immediately in "Peace" as Leisz, Frisell, and Lloyd engage its relaxed, syncopated melody even more slowly than on the original. Lloyd's solo underscores the Middle Eastern modalism in Coleman's tags as the string players extrapolate on the blues. On "Ramblin'," Leisz's pedal steel choogles, emulating a train (perhaps the Midnight Flyer out of Lloyd's native Memphis). The saxophonist adds a few notes from American folk song "Shortnin' Bread" before grabbing on to Coleman's mutant bop head. Frisell's playing is all sparking blues and shuffling alongside Leisz's. Harland's martial rim shots could lead a NOLA second line parade as the jam departs for open spaces. Songwriter Leonard Cohen loved and celebrated traditional country music -- he often carried a copy of Hank Williams' collected lyrics on tour. The Marvels' version of Cohen's "Anthem" would have earned his deep appreciation. While the string players follow the languid tempo and harmony, Lloyd solos up and down the melody, expanding it incrementally as if it were being imparted to him in a dream. The musician's sensitivity and spiritual empathy are redolent. His "Dismal Swamp" is a funky soul-jazz wherein he leads the band with punchy flute vamps as Frisell paints the margins with Harland, Leisz, and Rogers roiling the groove. "Monk's Mood" is rendered with lush nocturnal atmospherics as steel and sax share the melody. The pedal steel adds a touch of exotica, but Frisell's comping keeps it earthbound. "Ay Amor" is a reinvention of Cuban singer, songwriter, and pianist Ignacio Jacinto Villa Fernández (aka Bola de Nieve). Lloyd and company render it with breezy elegance, poignant emotion, and deep respect. Both Gábor Szabó's "Lady Gabor" and Lloyd's "Prayer" date to the early 1960s when the guitarist and saxophonist were with Chico Hamilton's group. On the former, dancing drums and bass meet spiky flute jabs that feed Frisell's biting garagey psychedelia. "Prayer" commences as a spectral ballad featuring Rogers' glorious arco playing before Lloyd's tenor carries it outside briefly to the tumult that exists beyond the margin. Frisell's shard-like chords and Leisz's atmospherics frame Harland's tense tom-tom pulse and muted cymbals. Over nearly nine minutes, it changes shapes several times before the tenor whispers the set out. While the singers on earlier Marvels albums offered ready accessibility, Tone Poem is perhaps more resonant given its consummate musicality and masterful tune curation.
|>This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<|
Tracklist :
1     Peace 3'12
Ornette Coleman    
2     Ramblin 4'59
Ornette Coleman
3     Anthem 6'19
Leonard Cohen    
4     Dismal Swamp 6'31
Charles Lloyd    
5     Tone Poem 9'04
Charles Lloyd    
6     Monk’s Mood 10'26
Thelonious Monk    
7     Ay Amor 10'05
Ignacio Jacinto Villa Fernández    
8     Lady Gabor 10'50
Gabor Szabo
9     Prayer 8'34
Charles Lloyd
Credits :
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Steel Guitar – Greg Leisz
Tenor Saxophone, Alto Flute – Charles Lloyd

DAVE HOLLAND SEXTET - Pass It On (2008) FLAC (tracks+.cue), lossless

Dave Holland's quintets and big bands have set a new high standard for modern mainstream and progressive jazz since the late '90s. While not a new assertion, and considering his entire body of work, Holland has time and time again proven his compositional theorems as valid, accessible, ever interesting, and especially memorable. Using a sextet, upright bassist Holland sets the bar even higher, adding the always tasteful pianist Mulgrew Miller and a four-horn front line that is relentless. This group continues to define jazz perfectly in the 21st century. Evidence is offered in the jaunty opening "The Sum of All Parts," a 5/4 African percussion-based piece led out by the always interesting Robin Eubanks, with folded-in alto and trumpet, witty counterpoint, and the always engaging, joyous sound that Holland has perfected in the past decade. Adding a light samba feel during the upbeat "Fast Track" with the horns in perfect unison, the ensemble shifts up to hard bop, the hip piano of Miller adding to the enjoyability quotient. A 10/8 choppy and bouncy "Modern Times" also uses Brazilian inferences and a clarion call, and has Antonio Hart switching to soprano. On the soulful side, the title track recalls visions of Horace Silver courtesy of Miller -- a groovy, fun boogaloo that has "radio hit" written all over it, while "Lazy Snake" takes the soul element deep underground -- there's one on every Holland CD -- and contrasts it with a suggestion of stark surrealism. Then there's the near 14-minute, free-based, diffuse "Rivers Run" (dedicated to Sam Rivers) accented by the bowed bass of Holland, building in intensity as the horns step up the sonic density in darker hues. Of course, this band can easily drive music hard, as on the post-bopper "Equality," which turns sullen and funky, then swings angularly. "Double Vision" sports a Native American spirit feel in a feature for Hart's stylistic alto, and the serene, lucid ballad "Processional" in 5/4 time is further support to the notion that intellectual music need not be devoid of warm blue notes infused into its fabric. The addition of the wonderful trumpeter Alex Sipiagin, the ever-maturing trombone playing of Eubanks (who wrote "The Sum of All Parts" and "Rivers Run"), and the nearly perfect percussive propulsion of the extraordinary drummer Eric Harland make this band practically unstoppable, and unprecedented in seizing mantles for its sheer talent level. Another triumph among many solid efforts the clearly brilliant and effusive Holland has strung together, this should certainly be a popular item among listeners and critics, and is a strong contender for best jazz CD of 2008. by Michael G. Nastos  
Tracklist :
1     The Sum of All Parts 8:11
Robin Eubanks
2     Fast Track 6:30
Dave Holland
3     Lazy Snake 10:07
Dave Holland
4     Double Vision 8:07
Dave Holland
5     Equality 9:09
Dave Holland
6     Modern Times 5:58
Dave Holland
7     Rivers Run 13:45
Dave Holland
8     Processional 4:33
Dave Holland
9     Pass It On 7:56
Dave Holland
Credits :
Drums – Eric Harland
Piano – Mulgrew Miller
Double Bass – Dave Holland
Saxophone [Alto] – Antonio Hart
Trombone – Robin Eubanks
Trumpet – Alex "Sasha" Sipiagin

DAVE HOLLAND - Prism (2013) FLAC (tracks+.cue), lossless

Bassist Dave Holland has been at the forefront of experimental, forward-thinking jazz ever since his formative years playing in Miles Davis' fusion ensemble. His 2013 album, Prism, finds Holland returning to his crossover funk roots with an able-bodied quartet. Featured here are former Tonight Show guitarist Kevin Eubanks, pianist/Rhodes keyboardist Craig Taborn, and drummer Eric Harland. All of these musicians have reputations for playing adventurous, genre-bending styles of jazz, making them perfectly suited for the project at hand. Holland's fourth outing on his own Dare2 Records, Prism follows his 2008 sextet date Pass It On, his 2010 octet album Pathways, and his 2010 flamenco-inspired Hands. All of those records were equally engaging and progressive in their own ways, but none showcased Holland's interest in the angular, knotty funk and fusion he explores here. Tracks like the expansive "The Watcher" and the roiling "Spirals" feature explosive, frenetic soloing from the band as well as moments of layered group interplay. Elsewhere, cuts like "The Empty Chair" and "Evolution" explore a more minimalist, modal sense of atmosphere that allow for extended and far-reaching improvisational moments. For fans of Davis' Bitches Brew period, during which Holland was a member of the band, there is plenty of expansive, abstract soloing, Rhodes keyboard squelch, and fuzz-laden guitar. We also get several introspective songs on Prism, with the poignant, midtempo Eubanks feature "The Color of Iris," and the gorgeous Harland-penned "Breathe." Of course, Holland's bass is the grounding force for the ensemble, and thankfully, he gets plenty of room to stretch out from beginning to end. by Matt Collar
Tracklist :
1   The Watcher [6:56]
Kevin Eubanks
2   The Empty Chair (For Clare) [8:31]
Dave Holland
3   Spirals [8:46]
Craig Taborn
4   Choir [4:49]
Eric Harland
5   The Color Of Iris
Kevin Eubanks
6   A New Day [7:51]
Dave Holland
7   The True Meaning Of Determination [9:19]
Craig Taborn
8   Evolution [10:24]
Kevin Eubanks
9   Breathe [5:40]
Eric Harland
Credits :
Dave Holland, bass;
Kevin Eubanks, guitar;
Craig Taborn, piano and Fender Rhodes;
Eric Harland, drums.