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AN UNDERRATED NEA JAZZ MASTER & “THE PEOPLE’S DIVA”


DOUBLE TAKE BY STEVE MACQUEEN, ARTISTIC DIRECTOR


Carlos Santana is more succinct than I’ll be, but he gets to the heart of the matter when he says, “Charles Lloyd is an international treasure.” True enough. The 81-year-old jazz saxophone legend has impacted American music in a variety of delightful ways. He brings his stellar band of virtuosos, The Marvels, and the great American roots singer/songwriter Lucinda Williams to the Flynn for what will be a season highlight, as well as a show that will whet the appetite for the Burlington Discover Jazz Festival in June.


Obviously, an artist like Lloyd attracts top talent, and The Marvels is an astonishing aggregation of A-list players. Guitarist Bill Frisell is one of the most influential players on his instrument, a leader in his own right. Drummer Eric Harland and bassist Ruben Rogers comprise one of the top rhythm teams in jazz.


And then there’s Lucinda Williams, one of the great songwriters of her generation, whose masterpiece Car Wheels on a


Gravel Road assures that people will talk about her long after she’s gone.


Still, at first glance, roots-rock and improvisational


jazz do not seem like the most perfect bedfellows. Yet the album Vanished Gardens belies that impression, as the musicians continually find common ground on a deep, soulful level within music that defies easy categorization. Rather than limiting either artist, their collaboration seems to set them free. Word has it the live performances reach levels only hinted at in the recording.


“I think it was fated to be, because Southern crossroads met,” Lloyd explained. “It was a coming-together of two different forces, and a third force happened.”


CHARLES LLOYD’S FASCINATING MUSICAL JOURNEY The roots of his muscular style


The Memphis feel is always in Lloyd’s playing, even when he visits the outer reaches of the stratosphere during free improvisations. It’s a compelling aspect of his artistry.


As a teenager, Lloyd backed such Memphis blues greats as Johnny Ace, Howlin’ Wolf, and B.B. King.


Hailing from the musical mecca of Memphis, he attended Manassas High, which boasts one of the first jazz programs in the country, founded by big-band maestro Jimmie Lunceford.


He moved to L.A. to study classical music, listening to Bartok by day, then sitting in with jazz visionaries such as Ornette Coleman and Eric Dolphy.


Expanding his sound on the West Coast


His first regular gigs were with the bands of Chico Hamilton and Cannonball Adderley.


The rise of his classic quartet


His quartet was the first jazz group to play the Fillmore West in San Francisco, alongside Jimi Hendrix, Cream, and the Grateful Dead.


Anticipating the world-music movement, he was one of the first jazz artists to incorporate multi-cultural cadences and motifs in his compositions.


The first Charles Lloyd Quartet is the stuff of legend, featuring Jack DeJohnette on drums, Keith Jarrett on keys.


6 THE MARQUEE


Photo Credits: (left) D. Darr (right) Timothy White


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