Customer Reviews

Jumping the Creek

5 star:		(4)
4 star:		(5)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I was somewhat surpised after listening to this album, probably, because I have been listening to Lloyd's "safer" records lately (Water is Wide and Hyppernion with Higgins - two highly recommended albums).

Nonetheless, I was shocked after I listened to first track. Lloyd's take on Brel's "Ne Me Quitte Pas" is absoultely stunning. There are no good words to describe it. You will just have to listen to it.

Perhaps a good preparation for this album is Lloyd's last year release "Which way is east". Much like that recording, "Jumping the creek" is on the experimental side. Lloyd improvises on the seemingly endless shores of his imagination, and members of his quartet are understanding and willing to go on the journey. Allen does some outstanding playing on "Ken Katta Ma Om".

For a personal favorite I select "The Sufi's Tears". Lloyd plays tarngato, evoking the oriental motives and bringing the listener to a completely different place. "Jumping the creek", the title composition, brings the musicians together in a whirlwind of improvisation.

This album definetely marks a new high in Lloyd's career. Beautiful and evocative- stunning, "Jumping the creek" is a marvel.

This brand new album is a welcome addition to the Charles Lloyd collection. Ever since he first rose to prominence in the 1960s with his groundbreaking quartet, he has continued to move listeners of all different backgrounds with culturally diverse and spiritually moving music. Unfortunately, Mr. Lloyd dropped out of the music scene in the 1970s to pursue other interests. In the 1980s he re-emerged as a musician recording for the ECM label, which is the record label of this CD "Jumping the Creek." His style has changed, more reserved and brooding, but his pitch is the same and he still has loads of fresh new ideas.

On this April 5, 2005 release, Charles Lloyd seems to have continued his creation of groundbreacking music. He is surrounded by three musicians who understand his music: pianist Geri Allen, basssist Robert Hurst(former bassist for the SF Jazz collective), and drummer Eric Harland(current drummer for the SF Jazz Collective). Each are dynamic in their own right, but when these three combine with Charles Lloyd, the sound is floating, hard driving, striking, and meditative.

The album begins with the best thing on the whole album, "Ne Me Quitte Pas". Geri Allen begins by playing chords and the group enters to state the melody. "Ne Me Quitte Pas" is quite possibly one of the darkest pieces Mr. Lloyd has ever recorded. The melody is bleak, painting a picture of ominous, dark clouds ready to storm rain. Mrs. Allen develops her solo until she forcefully pounds (in a musical way) the main chords of the composition, climaxing her brilliant solo. Mr. Lloyd returns by restating the melody and develops the solo to an unbelievable climax where he screams in the upper altissimo range of the tenor saxophone. Eric Harland smashes the symbals with sticks, as oppossed to the delicate yet driving brushwork he uses for most of the composition. Robert Hurst plucks the bass with vigour, and Geri Allend accents with her rich chords. This breathtaking climax sent chills down my spine and clearly this performance and composition rank among Charles Lloyd's best.

The rest of the album is very good, although not quite living up the epic perportions of the first composition. There are many duets between different members of the band. For instance, the title track begins with just drums and saxophone and later piano and drums. There are ballads and swing and meditative pieces. In addition to his tenor Lloyd plays alto on some tracks and the taragato, adding to the ethnic feel.

This is an amazing album nevertheless and worth entirely every penny - even for the first piece, but the rest of the album is excellent. This and "Voice In the Night" to me represent the best of the new Lloyd that I have heard on ECM and there is everything in this album to confirm that Charles Lloyd is one of the greatest saxophonists alive, still fresh with new ideas and experiences to share with the listener.

With Geri Allen on piano, Lloyd goes right to the edge. Fans of 'Trane's classic quartet

and the more recent work of Joe Lovano, Branford Marsalis, Tony Malaby, et al will love this one. Eric Harland (drums) and Robert Hurst (bass) are equal musical partners in this solid effort

Kudos to ECM for signing Lloyd and let him do it his way. Musically, the result have been alway first-rate.

Initially, the cd cover seems to summarise Lloyd on ECM: a lone figure on the jetty, the graceful lines of a paddle steamer just offshore; a sense of calm and certainty. However, that's partly misleading, as this album has its fair share of niggling, insistent, squalling doubt amongst the more secure, honeyed passages. Lloyd has a new rhythm section here: young turks Robert Hurst on double bass, and Eric Harland on drums/percussion, and it may be that this brings with it uncertainty, or a greater willingness to engage with uncertainty. Whatever it may be, some of the tracks here threaten to break down altogether at times as Lloyd's register screams shrilly and querulously, producing a genuine sense of unease. Even on the immensely stable and impressively stately 'Ne Me Quitte pas', which begins tranquilly with Geri Allen's sparse piano chords (great work from her throughout), bass and percussion before Lloyd tiptoes in, there is a moment near the end where his sax begins to squeak edgily, but is quickly restrained by the other instruments.
This is really a precursor to Lloyd's sax breakdown on 'Ken Katta Ma Om', the gradual dissolution and darkening of 'Georgia Bright Suite', and the shrill shrieking elements of 'Song of the Inuit'. These tracks are only blistered in part by his playing at the extreme top of his register, but the degree of unease forms a backdrop to some of the other tracks as well, notably in the skittish nature of the title track. However, 'Angel Oak Revisited' and 'Come Sunday' both hold the more meditative, warmer and assured tone of Lloyd, I've come to love. In addition, 'Both Veils Must Go' is a fascinating duet between Harland & LLoyd. Interestingly, four of the tracks on this album are only around the three minute mark, which also contributes a greater sense of discontinuity than on his other albums. Still some wonderful ensemble and individual work here, but a relaxing journey this isn't, hence only four stars. Still essential listening for Lloyd fans.

I seem to encounter Charles Lloyd at significant moments in my life. After attending an emotionally wrenching memorial service on September 11, 2002, I came home to find The Water Is Wide in my mailbox, and found the music comforting and dear. On the afternoon of November 15, 2003, I had to put my beloved dog down; that evening, I attended a concert by the Charles Lloyd Quintet, and my grief was lifted, at least for a time. On Easter Sunday, 2005, I was released from the church calling I had held for more than five years. Although this was not unexpected (and, actually, it was something I had been eagerly looking forward to in many ways), and although I was moving on to another significant church position, it was still emotionally draining; on Monday, Jumping the Creek arrived.

The personnel on Jumping the Creek comprise the quintet that I saw in 2003 minus guitarist John Abercrombie: Lloyd on saxophones (playing some alto in addition to his usual tenor) and taragato, Geri Allen on piano, Robert Hurst on bass, and Eric Harland on drums. During the course of the program, Lloyd varies the ensemble, sometimes playing in duets or trios rather than having the whole quartet for every cut.

The net result is an interesting combination of approaches, with an intensity of joy. Lloyd and his bandmates really seem to enjoy playing with each other, and their enthusiasm for their art and craft comes through. Although I missed Abercrombie's work on guitar, I thoroughly enjoyed this recording--I just hope the next release can come at a time when I am emotionally calm.

several years ago while sitting in a friend's kitchen, the radio turned to a new age music program, music i don't particularly like, a selection by charles lloyd played, and i was disappointed to hear charles lloyd fallen on hard times away from the jazz i first heard him play with forest flower.

there were too many accolades for me to ignore this cd, and all i heard was more of that droning new age music and not the charles lloyd i remembered from forest flower.

since i own the cd i have from time to time put it on the carousel. slowly i began to appreciate the music, by listening to the music and not hearing the music charles lloyd used to play. granted, all along i liked what he did with a couple of my favorite songs: ne me quitte pas and come sunday, and now they fit well within the other songs. and geri allen is at her best here.

not one of my top ten cds, but one i've come to like.

I arrived at this CD indirectly, as I was searching for more work by pianist Geri Allen. Well, I got much more than I could have hoped for, since Geri is spectacular and the entire CD is as original and confident as anything I have heard in a long time.

Others have mentioned that the music here is rarely a "full quartet", and I'll add that this fact adds to the interest and power of this music significantly. This CD was pleasant on first listen, but after a few listens it ended up in my top 5 CDs since 2000. This one is still in regular rotation in my car, and for late-night headphone listening after the kids are asleep. Also, I had never heard of the drummer, Harland, but I'm now a big fan.

I have since bought a bunch of Lloyds CDs, but this is my favorite. I really love the Hyperion with Higgens CD too.

2 1/2

While I commend Lloyd for staying relatively fresh all this time,. JTC is a spotty release lacking some depth in favor of extended wind-ups-and-downs.

This grabs your attention from the get-go and never lets go. It is really a set of duets between Charles Lloyd and different members of the group, which interacts superbly.

For any newcomers to his music: ignore the Coltrane copy-cat criticisms that are sometimes thrown in. So, you hear Coltrane occasionally. So what? It was OK for Zoot Sims, Stan Getz et al to be inspired by Lester Young. What's wrong with being influenced by one of the recent greats?

This is very good music that you will listen to over and over, discovering something new each time.

I had the honor of seeing Charles Lloyd at Scullers in Boston recently as he opened his world tour. He was magnificent. In addition to doing material from this magnificent album, he added "Sombrero Sam" and "Forest Flower, Sunrise, Sunset" to the second set. Geri Allen was amazing and to watch Charles beam as she soloed on "Forest Flower" was a delight.

The tour is on www.charleslloyd.com along with a full discography. Don't miss it!