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Voice in the Night


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Audio CD, January 25, 2000
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Voice In The Night 6:32$1.29  Buy MP3 
listen  2. God Give Me Strength 4:42$1.29  Buy MP3 
listen  3. Dorotea's Studio 7:48Album Only
listen  4. Requiem 5:59$1.29  Buy MP3 
listen  5. Pocket Full of Blues11:41Album Only
listen  6. Homage 9:26Album Only
listen  7. Forest Flower: Sunrise / Sunset15:22Album Only
listen  8. A Flower Is A Lovesome Thing 6:49$1.29  Buy MP3 

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Charles Lloyd was born March 15, 1938 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. Pianist Phineas Newborn became his mentor, and took him to Irvin Reason for lessons. Lloyd worked in Phineas Sr’s band, and from the age of 12 worked as sideman in the blues bands of ... Read more in Amazon's Charles Lloyd Store

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Product Details

  • Audio CD (January 25, 2000)
  • Number of Discs: 1
  • Label: Ecm Records
  • ASIN: B000023Y6C
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (15 customer reviews)
  • Amazon Best Sellers Rank: #67,205 in Music (See Top 100 in Music)

Editorial Reviews

Product Description

Review

Comfortable - that's exactly the way the music sounds on charles lloyd's latest outing, though the tenor saxophonist is part of a quartet. Of course, coziness isn't always the best setting for keen jazz improvisation. But when clever participants feel snug enough to let their ideas pour forth, heights can be reached. Lloyd was born nine days before Kuhn in 1938, and both are of a similar mind in terms of form. Voice in the Night, Lloyd's sixth outing for ECM, reveals how facile structures can yield enigmatic playing. Backed by bassist Dave Holland, guitarist John Abercrombie, and drummer Billy Higgins, the horn player has come up with a free-flowing treatise on eloquence. Lloyd's isn't the first name that rolls off the tongue when it comes to discussing imposing tenor players. Like Kuhn, he is a tad overlooked. Hopefully, the fluid moves of these eight new pieces will clear some of the haze surrounding the power of his art. As each year passes, he polishes his approach a bit more. With a fascinating way of instilling the drive of more aggressive music into languid statements, he turns the tensile girders of hard bop into utterly flexible cables. There are moments on Voice in the Night - "Pocket Full of Blues" and Lloyd's hippie anthem "Forest Flower," for example - where the music just steadily unfurls. Much of the credit for this effortless groove goes to drummer Billy Higgins. When Lloyd used the drummer on a Knitting Factory gig at the New York Jazz Festival last summer, critics were referencing it for days afterward. As far as grace goes, Higgins has no current competition on his instrument. Swirling his brushes over the snare, he ferries the rest of the band to myriad destinations. Enjoying the ride, Lloyd's horn offers eddies of golden tone on pieces as different as the Elvis Costello-Burt Bacharach melodrama "God Give Me Strength" and Billy Strayhorn's poetic "A Flower Is a Lovesome Thing." This is one of the saxophonist's finest outings.

--- JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc. -- From Jazziz

Customer Reviews

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Most Helpful Customer Reviews

24 of 24 people found the following review helpful By A Customer on October 23, 1999
Format: Audio CD
 
 
Charles Lloyd- Voice In The Night (ECM 1674)
The most obvious thing that strikes you about this recording is that it sounds so much like an American jazz record, especially on Homage where Lloyd pays tribute to a few ghosts, like Coltrane and Billie Holiday. Compared to Charles Lloyd's previous five outings on ECM, featuring Nordic players extraordinary like Bobo Stenson etc, playing textural minimalist jazz with long wailing sax notes, this is what Lloyd would term an American jazz album, more straight ahead and sounding like all are having a great time. It's hard not to remember or even think of John Coltrane when you hear this, those wide long sweeps of sound, extended phrasings on a single breath, the choice of notes. It's too close to the bone sometimes but truth is even if Coltrane had not been around and influenced as many people as he did, Charles Lloyd would still sound the way he always has on any of the other ECM releases. Abercrombie sounds to my ears like he did in his earlier days ie Timeless. This is the first time in many years that Lloyd has employed a guitarist.Szabo Gabor was his last guitarist and that was too many years ago now to try and remember. Abercrombie of course cites Szabo as one of his earliest influences, someone who allowed him to break free of conventional forms of guitar playing. As well Dave Holland turns up on bass. Billy Higgins on drums. Lloyd has been playing on and off with Billy Higgins since the 1950's and dedicated his last album (Canto) to him after a long illness on Higgin's part. Charles Lloyd has said in previous articles that he is following on in the steps of saints and sages. There is as always this wonderful sense of quiet spirituality. On Voices new and old material is revisited.
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18 of 18 people found the following review helpful By Jan P. Dennis on June 14, 2001
Format: Audio CD
Lloyd seems to have found his Ultimate Band. Each player perfectly complements his fellows. Features some of John Abercrombe's finest playing on disc. Ditto, Dave Holland. Higgins, as usual, is a master of taste and coloration. With his recent passing, he will be greatly missed.
Comprising mostly mid-tempo balladic compositions, the songs here have a haunting, wistful quality that is very attractive. Especially check out "Dorotea's Studio," to my ears one Lloyd's most satisfying performances ever. But it's all good. Definately a high-point in a long and distinguished career. Proves my theory that when the ECM thing works, it sometimes works wonders.
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17 of 17 people found the following review helpful By G B on June 12, 2004
Format: Audio CD
After five tenor-plus-rhythm recordings on ECM, Charles Lloyd decided to shift gears and look back to his musical roots. One of his first major gigs was the musical directorship of Chico Hamilton's innovative post-bop group, playing side by side with Hungarian guitarist Gabor Szabo. That group (represented on albums like A Different Journey and The Man from Two Worlds) debuted several of the pieces which appear on this album -- "Voice in the Night", various shorter pieces in the "Pocket Full of Blues" medley, and the perennial "Forest Flower".
The personnel is also quite different than the earlier ECM albums, which usually included European rhythm section members and drummer Billy Hart. Lloyd drafts his old LA buddy Billy Higgins on drums, then completes the piano-less rhythm section with guitarist John Abercrombie and bassist Dave Holland. There's little of the chamber-music flavor, world music exoticism or Coltrane-ish moodyness that pervades the earlier albums.
Instead, we get a surprisingly straight-ahead album by ECM standards. You can hear reflections of the Hamilton-Szabo group matured by age and experience. Lloyd's tenor is as robust and powerful as on Canto or All My Relations, with a greater nod to his Memphis roots. His ballad performances are beautiful and often profound (especially the title track and Strayhorn's "A Flower Is a Lovesome Thing") but without the occasional meditative stillness that crept in a few years before. On the more up-tempo tracks his cheeky wit frequently pops up; check out how he plays with the rhythm section on the blues medley. And the take on "Forest Flower" is one of the best of his career, light and loosely swinging.
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4 of 4 people found the following review helpful By Brian Currin on April 28, 2000
Format: Audio CD
This is a sweet sounding CD with some great haunting qualities too. The musicianship and subtle interplay is top-notch from Lloyd, Holland, Abercrombie and Higgins. Highly recommended.
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2 of 2 people found the following review helpful By IRate on May 19, 2010
Format: Audio CD
Sleek standards-upgrades is a smokey set of satisfying but never outstanding bop which often sees its star upstaged by his sidemen.
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3 of 4 people found the following review helpful By A Customer on May 19, 1999
Format: Audio CD
The interplay between Charles Lloyd and John Abercrombie alone is worth the price of this disc. They play in and around one another beautifully. Cleary, this quartet was having a great time making this recording.
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Format: Audio CD
Charles Lloyd's recordings on ECM have been truly remarkable, some of the finest jazz recordings ever made, the kinds of things one would definitely want to take to that proverbial desert island (the island with the stereo setup--and, oh yeah, electricity). Most of those recordings have been made with Scandinavian sidemen, notably Swedish pianist Bobo Stenson, but Voice in the Night finds Lloyd in the company of a whole new crew: John Abercrombie on guitar, Dave Holland on bass, and Billy Higgins on drums. My goodness, what a dream lineup!

For this outing, Lloyd plays tenor exclusively--no flute or oboe this time around--and he and Abercrombie trade some nice melodic ideas as they weave their way through the cuts. Higgins plays with energy and imagination, with his work on the cymbals being especially fascinating to follow. Holland is his usual self--very solid, but never seeming to play any cliches. The music ranges over ballads and blues, and then with the final two cuts we get Lloyd's most famous tune,"Forest Flower," and a cover of Billy Strayhorn's "A Flower is a Lovesome Thing."

Voice in the Night is a simply wonderful recording, one that anyone who appreciates jazz should hear; furthermore, it is the kind of recording that would be the perfect introduction to jazz for someone who likes music but has not yet ventured into the jazz realm. Buy a copy for yourself and a couple of extra copies to give to your niece and nephew.
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