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Two 1965 New York Concerts, Disc 1 recorded at Judson Hall & Disc 2 recorded at Slugs' Saloon.
A remarkable and previously unrecorded quartet featuring three jazz giants: guitarist Gábor Szabó, bassist Ron Carter and drummer Pete La Roca.
'It was a specific time and place'; Lloyd told Manhattan Stories annotator Don Heckman. 'We all felt like the boundaries were being dissolved and we could do or try anything. This is a music of freedom and wonder -- we were young and on the move.'
The Judson Hall recording comes from the archives of Resonance founder George Klabin, whose trove has previously yielded treasures from Bill Evans and Jimmy Giuffre. The Slugs' performances were recorded by Bjorn von Schlebrugge, who accompanied Lloyd to his Manhattan gigs.
Deluxe 2 CD Digi-Pack Edition contains a rich booklet with liner notes by Stanley Crouch, Willard Jenkins, Don Heckman & Michael Cuscuna.
Mastered for CD and vinyl by Bernie Grundman.
A must have for Charles Lloyd fans, jazz collectors & audiophiles!
Charles Lloyd: saxophone & flute
Gábor Szabó: guitar
Ron Carter: bass
Pete La Roca: drums
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Passionate “Sweet Georgia Bright” and charming, haunting memorable “How Can I Tell You” were recorded for Charles Lloyd’s debut album “Discovery” with Don Friedman, Richard Davis and J. C. Moses a year before (’64.) “Sweet Georgia Bright” is a tune inspired by Monk’s “Bright Mississippi,” while “How Can I Tell You” is written for his first love, Lady Day. Charles Lloyd explains the background of these songs to Michael Cuscuna in his interview. You’ll hear incandescent play with an impregnable team of Jarrett, McClure and Dejohnette at Tallinn two years later (’67.) Jarrett shows Don Pullen like piano sound there. “Lady Gabor” was performed at both places. Nasal twang of amplified electric guitar of Gabor Szabo is impressive. He is free to harmonize with the tenor and spin single-note lines across the beat created by Ron Carter and Pete La Roca.
Slugs is a notorious place for where Lee Morgan has been gunned down. James Gavin writes about this gritty Lower East Side bar’s historical transition on the September issue of JazzTimes. Charles Lloyd confesses “Slug’s Blues” is written on the spot to Michael Cuscuna in the same interview. Dorothy Darr uses characteristic parts as a sound track of cuts for Bob Thompson’s paintings and Raymond Ross’s photographs of this club in her directed “Arrows Into Infinity.” “Dream Weaver” makes its earlier appearance here. Lloyd records master version of this tune for the album with the same title half year later (’66,) with ironclad members of Jarrett, McBee and Dejohnette, but organizes in four minutes shorter than this performance. Listening these records we know key elements of Charles Lloyd’s language were already in place. His music is always searching, Michael Cuscuna’s speaks to the camera for making “Arrows Into Infinity,” but is really at peace with itself.
Sound quality and packaging are very good.