Charles Lloyd/Jason Moran
Sometimes with instrumental jazz it’s like non-fiction: the facts, the history, the issues all there contained in the music in the notes on the page. The vocals variety can be the fiction, the metaphors, the fantasies, the reimaginings. The characters portrayed. Only rarely, and usually it’s only in the work of a truly great instrumentalist, the kind who can move you, make you even not think about music but of life itself, that can produce in their art a synthesis of the two so that as tactile notes with their musicological resources it exists, but equally beyond there is a life force that summons some sort of imagined life, a world away from reality.
Well, Charles Lloyd is one of those artists, he combines in his non-fictive way as an instrumentalist the fictive properties inherent in Ellingtonia (Strayhorn’s ‘Pretty Girl’ and Duke’s ‘Mood Indigo’), with the narrative shockingly real family history in the five-part ‘Hagar Suite’ about Lloyd’s great-great-grandmother taken from her parents at just 10 and sold to a slaveowner who made her pregnant when she was only 14.
Lloyd, a deeply serious spiritual artist with a great communicator’s ability, is able to paint pictures like few others in jazz. Via flute on ‘Journey Up River’, the first part of the ‘Hagar Suite’, he provides with pianist Moran’s tumbling accompaniment (and later tambourine) an episodic element not often found in his general approach, a feature throughout the suite that provides a distinctive thread to this album.
Turning 75 this year it’s interesting that Lloyd has chosen with this new studio album, recorded last April, to reduce his quartet to a duo, its simplicity via the time machine of piano styles that Moran provides, in the fictive sense invoking a line in jazz piano almost taking the listener, say on Moran’s introduction to ‘Mood Indigo’, to Harlem in the 1930s. Lloyd is very bluesy on some tracks, but he’s capable of altering the mood throughout and the blues become a miniature requiem on one notable standout ‘I Shall Be Released’, a tribute to Levon Helm of The Band.
A great deal of the strengths on Hagar’s Song reside in the force of sheer feeling involved that act as much as a warning from the past as a hymn to the dead. Just as ‘I Shall Be Released’ is about protest it’s also about friendship. So all in all a very personal, wonderful sounding album, full of lovely moments, an oasis of contemplation in a world full of tumult, and every bit as good as the marvellous Mirror.
Released on 18 February. Side by side: Charles Lloyd top and with Jason Moran above