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Charles Lloyd Quartet - Dream Weaver (2002)

Posted By: Oceandrop
Charles Lloyd Quartet - Dream Weaver (2002)

Charles Lloyd Quartet - Dream Weaver (2002)
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 268 MB. & 103 MB.
300dpi. Complete Scans (JPG) - 17 MB. | WinRar, 3% recovery
Audio CD (2002) | Label: Atlantic/Collectables | Catalog# COL-CD-6361 | 43:55 min.

Review by Thom Jurek ~allmusic
The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. Dream Weaver is a fully realized project by a band – a real band – in which each member has a unique part of the whole to contribute.

Jarrett's unusual piano style fits musically with Lloyd's lyricism in a way that it shouldn't. Jarrett was even then an iconoclast, playing harmonic figures from the inside out and relying on counterpoint to create new spaces, not fill them in. (Just listen to "Autumn Sequence," where his solos and his backing harmonics are equally strident and inventive as Lloyd's Eastern explorations of mood and mode.) And then there's the rhythm section of McBee and DeJohnette, whose modal inventions on the intervals make the "Dream Weaver" suite an exercise in open time, allowing all players to wander around inside it and take what they want out. The set closes with a group party jam on "Sombrero Sam," with Lloyd and Jarrett trading eights on a Cuban variation on a fantasia. There were no records like this one by new groups in 1966.
Tracklist:
01. Autumn Sequence (12:01)
02. Dream Weaver (11:36)
03. Bird Flight (9:10)
04. Love Ship (5:55)
05. Sombrero Sam (5:14)

Charles Lloyd Quartet - Dream Weaver (2002)

Personnel:
Charles Lloyd - tenor saxophone & flute
Keith Jarrett - piano
Cecil McBee - bass
Jack DeJohnette - drums

~allAboutJazz

Born: March 15, 1938 | Instrument: Saxophone

Sangam is the first release from Charles Lloyd’s exciting new trio with Indian tabla master Zakir Hussain and Eric Harland, the gifted drummer from his ‘regular’ quartet. The album–Lloyd’s first live disc for ECM–was recorded in California in 2004. Taped at the Lobero Theatre in Santa Barbara in the context of a memorial concert for Billy Higgins, it brings to the surface some ‘Eastern’ enthusiasms that have been part of Lloyd’s palette for a very long time.

Already in the early to mid 1960s, Lloyd’s way of easing meaning and emotion from a melody in his tenor sax improvisations was influenced by sitar players and druhpad singers, just as it was influenced by the lineage of jazz greats extending from Lester Young and the expressive masters of the blues. The emotional climates of raga also influenced Lloyd’s extended modal compositions. In the early 1970s he collaborated on record with sarod player Aashish Khan and tabla player Pranesh Khan. The line-up of his touring bands, however, largely followed the conventions of jazz–sax, piano and/or guitar, bass, and drums.

The association with Billy Higgins changed this. On “Which Way Is East”(recorded 2001) and some of the duo concerts that preceded it, Lloyd and his drummer friend roved far beyond definitions of jazz–touching on other traditions, combining traditions, playing a very open form pan-cultural music. Lloyd originally sought to extend the spirit of the collaboration with Higgins in the “Sangam” group, which quickly assumed a strong identity of its own. The trio has already toured widely, receiving ovations and ecstatic reviews from Montreal to Madrid.

One of the first surprises on encountering the group is the sense of completeness that it projects. A trio with sax and two drummers, it seems to lack nothing. “There are so many nuances….” Lloyd says. “Sometimes it seems almost orchestral. It’s not about somebody supporting and somebody leading. The carpet we fly on is powered by all of us and whatever is flowing through us.” Sangam, a word of multiple definition, signifies confluence, a meeting place, a gathering or coming-together, literally or metaphorically. Triveni sangam means a three-way junction or meeting of three rivers, which merge and flow as one. Flow–free and unimpeded flow–is of central importance to the members of the group. Hussain and Harland are granted a lot of space in the music; they make the fullest use of it.

Lloyd first encountered Eric Harland at a jam session in New York’s Blue Note club in September 2001 recognising immediately that he was hearing one of the great drummers. Within a year Harland was playing with the saxophonist–the latest in a long line of superb Lloyd group drummers that has included Roy Haynes, Tony Williams, Pete La Roca, Paul Motian, Jack DeJohnette, Jon Christensen and Billy Hart. Harland, who turns 30 in 2006, was first inspired to play jazz by the example of Elvin Jones on Coltrane’s “A Love Supreme.” He has since played with McCoy Tyner, Pharoah Sanders and Ravi Coltrane, with Joshua Redman, Betty Carter, Joe Henderson, Wynton Marsalis and many others. He is especially excited about the opportunity to play with Zakir Hussain in Lloyd’s trio: “Everything Zakir plays has this feeling of freedom and authenticity about it. No matter where you go, he is able to be right there in the centre of it with the full force and flavour of his musical identity. And, of course, he’s grown up with different complex rhythms since he was a child, so it is completely natural for him to play through any metric modulation. It’s really an honour to be in a situation where I can have these dialogues with such a master musician. I’m learning a lot about tabla and Indian music, just by breathing in his rhythms.”

The son of the great innovator Alla Rakha (who effectively introduced the tabla to the wider world through his 30 year collaboration with Ravi Shankar), Zakir studied with his father from the age of three and was playing professionally by the time he was 13. He has played with every major figure in Indian classical music but has also been a prime mover in the development of a trans-cultural world music aesthetic. He was barely 20 when he participated in the pioneering genre synthesis of sarod master Ali Akbar Khan and jazz altoist John Handy. Then came Shakti with John McLaughlin, and diverse collaborations with the Grateful Dead’s Mickey Hart.

His 1986 ECM album “Making Music” was a major statement in the ‘world’ arena, with Jan Garbarek, John McLaughlin and bansuri flute genius Hariprasad Chaurasia as contributors. Hussain has also played on several ECM discs with violinist L. Shankar–“Who’s To Know”, “Song For Everyone”, “Nobody Told Me”, “M.R.C.S.”, and “Pancha Nadai Pallavi”.

Latterly he has been playing with the aptly-named Tabla Beat Science whose high-volume collision of cultures incorporates an ever-shifting cast of percussionists and DJs around a core of Zakir, sarangi player Ustad Sultan Khan and bassist Bill Laswell. Zakir Hussain has also collaborated on music for ballet with Yo-Yo Ma.

Charles Lloyd, born in Memphis, Tennessee, has had a long and distinguished history in music. In the 1950s he played with Don Cherry, Eric Dolphy, Ornette Coleman, Billy Higgins, Bobby Hutcherson and others in California, plotting the shape of jazz to come, and in the early 60s became musical director, and principal composer, of Chico Hamilton’s group. Charles Lloyd’s own groups have been exceptional from the outset. His first band featured Hungarian guitarist Gabor Szabo. It was followed by a quartet with the then largely unknown Keith Jarrett and Jack DeJohnette, whose recorded legacy includes the million-selling “Forest Flower”. After a decade in retreat at Big Sur, Lloyd slowly returned to performing in the 1980s and began to record for ECM in 1989 with “Fish Out of Water”.

Subsequent albums have included Notes from Big Sur, The Call, All My Relations, Canto, Voice in the Night, The Water is Wide, Hyperion with Higgins, Lift Every Voice, Which Way is East, and Jumping the Creek.

Produced by George Avakian and Arif Mardin
Recorded probably 1966
Recording Engineer: Phil Lehle
Cover Photo: Charles Stewart
Cover Design: Marvin Israel
Liner notes by George Avakian
Originally released as Atlantic 1459, in 1966
All tracks written by Charles Lloyd, except #1 (Autumn Leaves)


Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 31. January 2009, 9:13

Charles Lloyd / Dream Weaver

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TOC of the extracted CD

Track | Start | Length | Start sector | End sector
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1 | 0:00.00 | 12:00.74 | 0 | 54073
2 | 12:00.74 | 11:35.39 | 54074 | 106237
3 | 23:36.38 | 9:09.67 | 106238 | 147479
4 | 32:46.30 | 5:55.19 | 147480 | 174123
5 | 38:41.49 | 5:13.39 | 174124 | 197637


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None of the tracks are present in the AccurateRip database

No errors occurred

End of status report

[CUETools log; Date: 10.01.2012 22:59:10; Version: 2.0.9]
[CTDB TOCID: WuwMSaA1z000C9IKGWHRJv_0_d4-] disk not present in database.
[AccurateRip ID: 000a5e82-002ee4cf-3d0a4b05] found.
Track [ CRC ] Status
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02 [c81d67b2] (2/2) Accurately ripped
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Thanks to the original releaser.

Charles Lloyd Quartet - Dream Weaver (2002)

(flac links are interchangeable, mp3@320 & artwork = single links)