Sunday, May 14, 2006

Charles Lloyd with Zakir Hussain and Eric Harland

Almost the last thing to be heard on this stunning live recording is an ecstatic audience member, amidst the applause, crying ‘’Thank you so much,’’ in a perfect and spontaneous expression of the great joy emanating from this performance. Sangam, the album title, translates as “union” or “confluence” and is apt in describing not just the breath-taking interplay and common purpose among the three musicians in Charles Lloyd’s new trio, but also the deep spiritual love that sweeps off the stage and into the audience, taking up everyone in the excitement of the moment: inclusive, playful, joyous. It’s a brilliant example of the phenomenon Allen Ginsberg described as “wholly communion,” and it’s utterly infectious, even in the form of a CD played on your stereo.

Click here for the complete review at

Of Course Reissue

The quartet was best described by Charles at the time: "I'm always striving for that moment when the music is really happening; by this I mean complete involvement by everybody. When I surround myself with Gabor, Tony and Ron, those moments come more easily because we all draw so well from each other. It happens in the playing. We don't talk much about our roles in the ensemble - we speak best through our instruments, which are like extensions of ourselves."

Click here for Mosaic Records.

Sangam: Charles Lloyd, Zakir Hussain, Eric Harland

Thursday, June 22nd 2006
Zankel Hall
57th Street & 7th Avenue
New York, NY


Purchase Information
Call: Carnegie Charge 212-247-7800
In person at: The Carnegie Hall Box Office
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Charles & Billy in NYC

HOME, an intimate and moving documentary, captures the last recording that Charles Lloyd did with Billy Higgins 3 months before Higgins' death in May 2001—most of which is filmed in Lloyd’s living room.

Larry Appelbaum, Senior Studio Engineer from the Library of Congress, interviews Charles Lloyd and the filmmaker Dorothy Darr, after the screening.

Click here to see the posting at the 92nd Street Y.

Of Course

The first two jazz albums I bought, on the same day in the summer of 1964, were Coltrane Sound and Getz/Gilberto, both new and on the radio then. So how could I resist Charles Lloyd's Of Course, Of Course the following year? Lloyd took Coltrane and Getz and split the difference, combining harmonic fury and lyrical float while tossing in some Rollins and Coleman for good measure.

Click here for Francis Davis' piece at the Village Voice.