Those of us who signed off the 20th Annual San Francisco Jazz Festival with Saturday night's "Introspection + Inspiration" concert were granted a precious gift in the form of music that not only sustains treasured elements of the jazz tradition, but which nourishes wounded psyches in troubled times, as well. Many saxophonists have acknowledged the spiritual nature of the late 's musical quest, with formal stylistic nods and emulations,RayBan; few touch the deep source of inquiry into the nature of self, suffering and transcendence as Charles Lloyd did during his moving performance.
Fronting a remarkable band that forged glorious unity of the disparate personalities of pianist , guitarist , bassist and drummer , Lloyd poured his heart into nine stirring pieces, from an opening Arabic-tinged unaccompanied solo on taragato (a soprano-sax-shaped reed) to the final compact and breathtaking encore of "You Are So Beautiful."
Lloyd kept a low profile on the jazz scene for much of the 1970s and '80s. He had recorded the first jazz album to sell a million copies -- Forest Flower, the live document of his 1966 Monterey Jazz Festival appearance (with a young in his quartet) -- and crossed over to young listeners with appearances on rock bills. He did not return to the forefront until he inaugurated a string of albums on the ECM label in 1989. The newest, Lift Every Voice, finds the 64-year-old perennial bohemian tapping all his inspirational resources (traditional spirituals,Oakleys Cheap, Sufi poet Hafez, Cuban composer , , Ellington and Strayhorn) to musically cope with -- and perhaps illuminate a path out of -- the darkness that has fallen since Sept. 11, 2001. He and his intimate collaborators brought much of that music and all of its soul and idealism to the Herbst. On opposite sides of the stage, Allen and Abercrombie repeatedly proved why they are two of jazz's most harmonically interesting if sometimes under-appreciated players. At the center, Lloyd, on tenor sax (and flute for one piece), continually belied the sadness of his heavy-lidded eyes with poignant and resolutely hopeful solos. tour, Polish trumpeter Tomasz Stanko helped sell out the house by attracting a sizeable following from his homeland, including a Polish TV crew. The Euro-hipster (in spats-style boots and a narrow-brim stovepipe hat) also helped set the evening's tone of spaciousness and reflection with an all too short 45-minute set of original compositions in which he and his young quartet explored long melodic lines with elegance and fire. Appropriately, the 60-year-old Stanko's gorgeous new album is titled >The Soul of Things. That's certainly where these two masters took us and left us to rest. Related articles:
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