{"id":7348,"date":"2016-02-22T16:03:42","date_gmt":"2016-02-23T00:03:42","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7348"},"modified":"2016-03-15T23:03:06","modified_gmt":"2016-03-16T06:03:06","slug":"charles-lloyd-gary-peacock-in-portland","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/02\/charles-lloyd-gary-peacock-in-portland\/","title":{"rendered":"Charles Lloyd & Gary Peacock In Portland"},"content":{"rendered":"
\n

Charles Lloyd Quartet<\/strong><\/p>\n

Rather than the electrified two-guitar quintet he calls the Marvels, the saxophonist CharlesLloyd brought his traditional quartet to the Portland Jazz Festival.<\/p>\n

\"Lloyd
\nThey played a memorable concert. Supported by players”\u00a0decades younger, the 77-year-old Lloyd opened with a section of his \u00e2\u20ac\u0153Ruminations\u00e2\u20ac\u009d suite. His”\u00a0tone, which is both light and powerful, gave wing to inventions suggesting that he might have been ruminating about John Coltrane, Igor Stravinsky and Claude Debussy. As usual, Lloyd did not announce the names of the pieces he played and, as is his custom, said not one word to the audience. Words were unnecessary except, perhaps, to satisfy curiosity about the repertoire. Post-concert inquiries disclosed that the next piece was \u00e2\u20ac\u0153Flying Over The Odra Valley\u00e2\u20ac\u009d and the one after that was \u00e2\u20ac\u0153Gardner,\u00e2\u20ac\u009d which had a minor key, almost eastern European cast about it. Then came \u00e2\u20ac\u0153Nu Blues,\u00e2\u20ac\u009d in which Lloyd\u00e2\u20ac\u2122s Memphis musical upbringing and roots were movingly on display.<\/p>\n

Lloyd\u00e2\u20ac\u2122s interest in the work of his sidemen led him to move into the curve of the piano when Gerald Clayton was soloing and listen intently, as if he was memorizing the notes. Sometimes \"Harlandbobbing or swaying in place, Lloyd gave bassist Joe Sanders and drummer Eric Harland (pictured left) the same close attention. The quartet\u00e2\u20ac\u2122s unity was remarkable through the traditional Mexican song \u00e2\u20ac\u0153La Llorona\u00e2\u20ac\u009d and three parts of The Wild Man Suite<\/em><\/a>, which they recently recorded. All three of the sidemen soloed extensively, inspiring extended applause. For the encore, Lloyd made a medley of Preston and Fisher’s \u00e2\u20ac\u0153You Are So Beautiful\u00e2\u20ac\u009d and Duke Ellington\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Come Sunday,\u00e2\u20ac\u009d and gave them a spiritual connection. He and his young colleagues got a standing ovation that was even longer than the Portland audience\u00e2\u20ac\u2122s customary standing ovations.<\/p>\n

Gary Peacock Trio<\/strong><\/div>\n
\n

With decades in the jazz mainstream and the avant-garde behind him, the 80-year-old bassist Gary Peacock is at the helm of a trio that blends elements of both genres. He may be best known as a member of Keith Jarrett\u00e2\u20ac\u2122s trio, but Peacock’s resume includes work with artists as diverse as Bud Shank, Bill Evans, Albert Ayler, Archie Shepp, Ralph Towner and Paul Bley.<\/p>\n

\n

\"images\" ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0”\u00a0”\u00a0”\u00a0”\u00a0”\u00a0”\u00a0 Peacock ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 Baron ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0Copland<\/strong><\/p>\n

Peacock, pianist Marc Copland and drummer Joey Baron began their Portland concert with \u00e2\u20ac\u0153Estate\u00e2\u20ac\u009d (Italian for \u00e2\u20ac\u0153Summer) which, with recordings by Shirley Horn, Peggy Lee and Joao Gilberto, has become a standard. Peacock tightly integrated his opening solo with the contrasting pop and snap of Baron\u00e2\u20ac\u2122s drumming and the smoothness of Copland\u00e2\u20ac\u2122s accompaniment. Endlessly energetic and inventive, Baron spread a blanket of cymbal, mallet and brush strokes for a riff-like Peacock\"Peacock bass pattern that set up \u00e2\u20ac\u0153Footprints,\u00e2\u20ac\u009d the Wayne Shorter piece played by several bands at this festival. Peacock maintained his bass pattern for Copland\u00e2\u20ac\u2122s solo. Baron continued to sculpt patterns of his own that continued during the virtuoso Peacock solo that followed Copland\u00e2\u20ac\u2122s.”\u00a0Baron switched from brushes to sticks for a melodic solo that included a deftly placed \u00e2\u20ac\u0153Salt Peanuts\u00e2\u20ac\u009d quote that brought smiles from his colleagues and chuckles in the audience.<\/p>\n

In Copland\u00e2\u20ac\u2122s original composition \u00e2\u20ac\u0153Time Was,\u00e2\u20ac\u009d Baron\u00e2\u20ac\u2122s liquid brushwork was a highlight. The trio\u00e2\u20ac\u2122s interaction and the rapt attention they paid to one another during Copland\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Moor\u00e2\u20ac\u009d inspired a one-word declaration from a woman seated near me. \u00e2\u20ac\u0153Dialogue,\u00e2\u20ac\u009d she said. It was an apt summation of their approach. Later in the set, the communication in a piece that was either”\u00a0\u00e2\u20ac\u0153Solar\u00e2\u20ac\u009d or was based on it reached a level of communication that amounted to a sensitively attuned musical conversation.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Charles Lloyd Quartet Rather than the electrified two-guitar quintet he calls the Marvels, the saxophonist CharlesLloyd brought his traditional quartet to the Portland Jazz Festival. They played a memorable concert. Supported by players”\u00a0decades younger, the 77-year-old Lloyd opened with a section of his \u00e2\u20ac\u0153Ruminations\u00e2\u20ac\u009d suite. His”\u00a0tone, which is both light and powerful, gave wing to […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-7348","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7348","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=7348"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7348\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7348"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7348"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7348"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}