(JazzPlanet)Charles Lloyd - Fish Out Of Water (Eac Flac Cue)

Charles Lloyd - Fish Out Of Water









Artist: Charles Lloyd
Title Of Album: Fish Out Of Water
Label: ECM Records ?– ECM 1398, ECM Records ?– 841 088-2
Format: CD, Album
Country: Germany
Released: 1990
Genre: Jazz
Style: Post Bop, Contemporary Jazz
Torrent size 249 MB
Souce: Original CD
Covers included


Extractor: Exact Audio Copy V1.0 beta 3
Used drive : HL-DT-STDVDRAM GSA-E10L
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue Multiple wav file with Gaps (Noncompliant)
Accurately ripped (confidence 2) (AR v1)


TrackList:
1 Fish Out Of Water 9:20
2 Hagia Sophia 7:24
3 The Dirge 10:10
4 Bharati 8:23
5 Eyes Of Love 8:32
6 Mirror 9:28
Bonus Track
7 Tellaro 4:02


Personnel:


Charles Lloyd tenor saxophone, flute
Bobo Stenson piano
Palle Danielsson bass
Jon Christensen drums

Listen to Sample

http://www.allmusic.com/album/fish-out-of-water-mw0000654836

http://www.youtube.com/watch?v=Jns0m73Fdfk

http://www.youtube.com/watch?v=sE-18AVr_JE

http://www.youtube.com/watch?v=qxsFyc79drI

http://www.youtube.com/watch?v=CH-PJtP0u3Q

http://www.youtube.com/watch?v=ZtCYrb8Cgwo


Biography

Lloyd was born in Memphis, Tennessee. From an early age, he was immersed in that city's rich musical life and was exposed to jazz. He began playing the saxophone at the age of 9 and took lessons from pianist Phineas Newborn. One of his closest friends was trumpeter Booker Little. Lloyd became a sideman in the blues bands of B. B. King, Howlin' Wolf, Bobby "Blue" Bland and others.

In 1956 Lloyd moved to Los Angeles and earned a music degree from the University of Southern California. During this period Lloyd played in the big band of Gerald Wilson. From 1960 to 1963 Lloyd played in the band of drummer Chico Hamilton and became its musical director. Though the band was known for playing "chamber jazz" at the beginning of Lloyd's tenure, his influence as a composer and a player quickly pushed it in a more progressive post-bop direction. Lloyd's key musical partner in the band was the guitarist Gábor Szabó. In 1964 Lloyd left Hamilton's group to play with alto saxophonist Cannonball Adderley. During this period he recorded two albums as a leader for Columbia Records; his sidemen were other young musicians including Herbie Hancock, Ron Carter and Tony Williams. Through 1966-1968 Lloyd led a quartet with pianist Keith Jarrett, bassist Cecil McBee (afterwards, Ron McClure), and drummer Jack DeJohnette, that producer George Avakian signed to a contract with Atlantic Records. The quartet's music was an interesting fusion of straight-ahead post-bop, free jazz, and soul jazz. The group's music quickly caught on with both jazz fans and critics. Somewhat surprisingly, they also achieved a fair amount of crossover success with young rock fans and became the first jazz group to play in The Fillmore. The album Forest Flower became a big commercial hit, largely on the strength of the title track. Other noteworthy albums include Dream Weaver and Love-In.

In 1968, after the quartet's demise, Lloyd entered a state of semi-retirement. Despite recording several albums during the 1970s and occasionally appearing as a sideman, he practically disappeared from the jazz scene. During the 1970s Lloyd played extensively with The Beach Boys both on their studio recordings and as a member of their touring band. In the late 1970s Lloyd was a member of Celebration, a band composed of members of the Beach Boys' touring band as well as fellow Transcendental Meditation followers Mike Love and Al Jardine. Celebration released two albums.

Upon being approached by pianist Michel Petrucciani in the early 1980s, he resumed playing actively. From 1989, Lloyd toured actively and recorded for the ECM label. Although his playing had not changed much stylistically since his groundbreaking work in the 1960s, these recordings showcased his sensitivity as a ballad player. Noteworthy albums include Canto, Voice in the Night, The Water Is Wide (featuring Brad Mehldau, John Abercrombie, Larry Grenadier and Billy Higgins), Lift Every Voice (featuring Geri Allen), and the live Rabo de Nube with Jason Moran). Lloyd has shown great consistency and creativity in his period with ECM, much of his music containing a strong spiritual element, some it heavily in a "world music" vein, and some of it unusual and experimental as in the duets on Which Way is East? with his longtime friend and musical soulmate, Billy Higgins.

Allmusic noted that Lloyd's 2013 offering, Hagar's Song "finds Lloyd and Moran at their most naturally curious and deeply attentive best, offering a conversation so intimate the listener may occasionally feel she is eavesdropping".[2]



review

Tennessean saxophonist Charles Lloyd jumped indeed like a fish out of water into the spotlight with this seminal ECM debut. For his first major release after a reclusive period, Lloyd was joined by the great Bobo Stenson on piano and Keith Jarrett’s European quartet rhythm section (bassist Palle Danielsson and drummer Jon Christensen). Lloyd’s signature tenor, smoky and viscous, floats through Stenson’s smooth action at the keys in the nine-minute title cut, which opens a program of seven originals. The delicacy of these two melody makers is the album’s bread and butter, intensely apparent from the beginning. Stenson draws freshly honed memories from Lloyd’s comforts, while the reedman takes pause and feeds back into the loop with even darker expressions. The unwrapping of lyrical presents continues under this Christmas tree in “Mirror,” throughout which brushed drums and a resonant bass provide a plain of fulcrums on which Lloyd balances smooth hits and fluttering asides alike, only to diversify things with flute in the contemplative “Haghia Sophia.” Again, from this Stenson manages to emote so complementarily that we almost get lost in the swirling oceanic foam from which arises a tenored Aphrodite. “The Dirge” is another pure, heavy drop into a limpid pool of soul that is reason enough to at least hear this album, if not have it with you as you grow. Two grooves await us in “Bharati” and “Eyes Of Love.” The former is seek, refined, and oh so moving. Lloyd speaks mostly in half-whispers, never louder than a private declaration, while the latter unfolds some of his most buttery soft playing on record. A buoyant yet introspective solo from Danielsson trips us into the rejoinder, which keeps the cool, blue fires stoked well into the flute-driven “Tellaro” which ends the set. Here, Lloyd releases Stenson adrift as if a flower upon a river, returning as a fish swimming beneath him into a forest where we cannot follow.

Lloyd mythology paints his hiatus prior to this album as a period of soul searching, during which he is said to have nearly abandoned music, only to return refreshed and pouring his all into the art form that so defines him (if not the other way around). And yet we clearly see that in the recordings since his soul searching has never stopped, for it continues to inhabit every breath that passes his reed. Even when Lloyd isn’t playing, there always seems to be a thin line connecting every stretch of silence. In this respect, we find here a spiritual level of jazz from artists all the more prodigious for their humility. In spite of their incendiary potential, they choose to cook rather than flare, each bringing his sensitivity to bear upon these insightful forays into melody and surrender. Tender to the utmost.