LATEST ADDITIONS

Late breaking news (11/6): an individual who works for CBS News has emailed Musicangle to plead his network's case. The individual claims that CBS head and "staunch Democrat" Les Moonves pulled the series not because of pressure but because after having seen the rough cuts, he decided he was not getting the movie he'd ordered, and that it was not sufficiently strong to be aired during the crucial November sweeps (ratings). "This is business, baby," our correspondent avers. We'll take him at his word, though given how much crap ends up on the networks, the reason is still suspect.

Hard to believe, but the legendary Rastapunkspeedmetal band Bad Brains began life in the late 1970’s as a Washington, D.C. based jazz/funk group called Mind Power. Then one of them heard The Sex Pistols’ Never Mind the Bollocks and the first black punk-rock group was born. You’ll hear the influence of The Clash and maybe The Stooges, but these guys invented their own sound, adding a fluidity and precision to the genre’s usual breakneck speed that no other band that I’ve heard managed to duplicate. The Sex Pistols may have inspired them, but Bad Brains demonstrated punk’s micro-groove musical possibilities because they could really play.

My first live encounter with Dianne Reeves was at a Town Hall jazz benefit concert honoring “heroes and victims” of September 11th held that December. The array of talent included Jason Moran, Brad Mehldau, Kenny Barron, Ron Carter, Béla Fleck, Benny Golson, Joe Lovano and many others, but the appearance that stayed with me was Ms. Reeves’s. She literally lit up the stage with both positive energy and a big voice that was stunning for its clarity, phrasing precision and tonal purity. Forget the technical perfection though, Reeves connected with a directed force that no other performer that evening matched. It’s a force you will feel on every track on this effervescent disc.

Editor's note: The album covers accompanying this survey appear separately in our "photo gallery" which can be accessed near the bottom of the home page. We are proud to have Elliot Kallen's byline appear on musicangle.com

(This is a survey of the recorded output of saxophonist Charles Lloyd, from his first appearance on record with the Chico Hamilton band to his present work on the ECM label as leader. As such, it's not a detailed listing of every single date he's done, merely my personal choices for content, interest, or historical context. I've used the framework of an interview with Lloyd to flesh out some of the circumstances and musical environments that helped produce the albums. In other words, if I've left out one of your favorite Lloyd sessions...get over it.)—EK

In the middle 1960's, Charles Lloyd's jazz group was a bona fide phenomenon. Audiences connected with their vibrant blending of jazz improvisation and propulsive rock rhythms. They were the first jazz group booked into the premiere rock palace of the day, the Fillmore Auditorium in San Francisco. They brought their heady concoction of musical freedom to virtually every corner of the globe, and were received as avatars in the process. Critics were often divided, but the audiences, mostly composed of younger people, were immediately drawn to the band's sound. An album recorded live at the Monterey Jazz Festival, Forest Flower, sold like a rock album.