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Charles Lloyd and Friends featuring Bill Frisell, Reuben Rogers and Eric Harland

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Jazz Saxophone Titan

Jazz Guitar Giant

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Tuesday, Feb 2, 2016

BOX OFFICE 612-332-5299

Charles Lloyd Media

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Bill Frisell Media

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Charles Lloyd

A supergroup 40 years in the making! Charles Lloyd and Bill Frisell seem to have been cut from a similar cloth, opting for spacious and melodic ideas instead of frenetic and complex, each of them imbuing their respective bodies of work with a thoughtful and meditative quality unique in American jazz. Both artists have maintained a busy recording and touring schedule for decades, and their paths have surely crossed before, but only in the last two years have they begun to perform together. Here, Bill joins Charles with members of Lloyd’s New Quartet, bassist Reuben Rogers and drummer Eric Harland, for one magical night!

Charles Lloyd – saxophone
Bill Frisell – guitar
Reuben Rogers – bass
Eric Harland – drums

About Charles Lloyd

One of the giants of jazz saxophone, Charles Lloyd’s appearances have been rare and special since the late 1960s. Lloyd’s commanding presence and mercurial ideas have changed the face of jazz, and his influence and experimental nature are still growing.

“I know the winds of grace are always blowing. I must raise my sails high enough to catch the breeze.” – Charles Lloyd

Those “sails” rise from Lloyd’s horn until they fill and are filled by the air, at times becoming a gale force that sweeps all within hearing into a swirling, rapturous ride. The intensity of Lloyd’s music doesn’t derive from volume or speed, but from spiritual depth and passion.

Lloyd made his recording debut in 1961 as a member of the Chico Hamilton Quintet, and gained a strong reputation for his lighter-toned tenor playing, as well as his unique flute phrasing. He played briefly with the Cannonball Adderley Sextet before forming his own quartet in 1965. This group, featuring Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums, quickly became a favorite of the West Coast scene and toured internationally for three years. Lloyd’s searching solos, influenced by sitar players and Indian druhpad singers as well as being melodic and blues-based, led to inevitable John Coltrane comparisons. Upon this group’s split in 1968, Lloyd went into semi-retirement, focusing on meditation and living in California.

Pianist Michel Petrucciani coaxed Lloyd out of retirement in 1982, and his style and sound seemed unchanged from his 60s recordings. This led to a renaissance in Lloyd’s career, and a number of new musical relationships to explore: Lloyd spent several years collaborating with pianist Bobo Stenson, and captured legendary drummer Billy Higgins’ last years wonderfully on two recordings (The Water is Wide and Hyperion with Higgins). His 2004 Higgins tribute tour, featuring Indian tabla legend Zakir Hussein and drummer Eric Harland was met with high praise wherever they appeared.

What Other People Have Been Saying...

“Charles Lloyd is an international treasure” -Carlos Santana

“follow the career of Charles Lloyd, … and you’ll see a grand history of jazz spanning half a century” -Ben Ratliff, New York Times

“Mr. Lloyd has come up with a strange and beautiful distillation of the American experience, part abandoned and wild, part immensely controlled and sophisticated.” – New York Times

“A magic formula for an intense musical encounter.” -Telerama Paris

“A commanding presence, Charles Lloyd has matured to emerge as a messenger of the music. Paralleling Trane [John Coltrane], the company Lloyd has kept (i.e. Billy Higgins) ultimately validates his spirituality.”
– Fred Jung,

Bill Frisell

About Bill Frisell

Bill Frisell is one of the true giants of the jazz world. With his unique sound and singular approach to his craft, he has nearly single-handedly established a new genre of music. He has lent that sound to a diverse array of musicians on recordings: John Zorn, Elvis Costello, Ginger Baker, The Los Angeles Philharmonic, Suzanne Vega, Loudon Wainwright III, Vic Chestnut and Gus Van Sant have all hired Frisell for their projects. The breadth of such performing and recording situations is a testament not only to his singular guitar conception, but his musical versatility as well.

While he has long been revered as one of the great artists in modern jazz, the breadth of his original work extends far beyond the reaches of jazz. His recordings have covered country swing, reggae, quasi-heavy metal, backbeat rock, 1970s pop and more, all with Frisell’s signature twang.

What Other People Have Been Saying...

“a typically oblique and utterly successful Frisell-ian take on the music of John Lennon, from both his solo and Beatle years. The easy grace and fertile imaginings of the performances again give rise to questions that have become ever more relevant over the 30-plus records Frisell has made since the mid-1980s: Is there anything the man can’t play uniquely on guitar? He’s played rock-oriented ballads with Elvis Costello, composed new music to accompany Buster Keaton’s silent films mixed world-music flavors with the Intercontinentals, picked country music, and done many jazz records with the likes of Dave Holland, Elvin Jones, and Ron Carter. Is there any genre he can’t put his signature textures on? Any songwriting style he can’t master?” – Stereophile

“gorgeous renderings of songs by John Lennon … What a legacy Lennon left us. How lucky we are to have Frisell to tell us about it.” – Seattle Times

” … when placed in the hands of legendary maverick guitarist Bill Frisell, an album full of such John Lennon songs is engaging because the tracks become lyric-less re-imaginings rather than bland retreads or ridiculous send-ups. … Covering Lennon tunes isn’t a wise idea for most artists, but Frisell and Co. make this an experience worth having.” – Glide Magazine

“…Bill Frisell has quietly been the most brilliant and unique voice to come along in jazz guitar since Wes Montgomery. In light of this, it may be easy to overlook the fact that he may also be one of the most promising composers of American music on the current scene.” – Stereophile

“All We Are Saying… may be Frisell’s closest thing to a rock record but, informed by years of improvisational experimentation‹melodically, harmonically and texturally‹it’s an album that simply couldn’t have been made by anyone else.” – All About Jazz / by John Kelman