Vanished Gardens Charles Lloyd & The Marvels and Lucinda Williams

• 1 Defiant 08:41
• 2 Dust 07:58
• 3 Vanished Gardens 09:03
• 4 Ventura 06:22
• 5 Ballad Of The Sad Young Men 06:17
• 6 We've Come Too Far To Turn Around 06:30
• 7 Blues For Langston And LaRue 05:38
• 8 Unsuffer Me 11:40
• 9 Monk's Mood 05:15
• 10 Angel 05:53
• Total Runtime 01:13:17

Info for Vanished Gardens

Charles Lloyd & The Marvels + Lucinda Williams will release Vanished Gardens, a transcendent new album that presents the fascinating collaboration between NEA Jazz Master saxophonist and composer Charles Lloyd and acclaimed GRAMMY-winning singer and songwriter Lucinda Williams. Together they weave several threads of American music (Jazz, Blues, Americana, Country, and Rock) into a thrilling and uplifting new musical hybrid. The first single “We’ve Come Too Far To Turn Around,” a new gospel-informed song written by Williams, is available today to stream or download. The Marvels are Bill Frisell on guitar, Greg Leisz on pedal steel guitar and dobro, Reuben Rogers on bass, and Eric Harland on drums. Vanished Gardens was produced by Lloyd, Dorothy Darr, and Don Was.

“A friend had turned me on to Lucinda when Car Wheels On a Gravel Road came out,” Lloyd recalls. “Lu has worked a lot with Bill Frisell and Greg Leisz, so a couple of years ago she came to one of my Marvels concerts at the Lobero Theater in Santa Barbara. It was our first meeting and I sensed a deep Southern crossroads connection. Not long after that meeting she invited me to guest at her UCLA concert and then I invited her to guest at one of my concerts about a year later… It was clear we had something we wanted to explore together.”

Williams is featured on five of the ten tracks on Vanished Gardens, including expansive new versions of her well-known songs “Dust,” “Ventura” and “Unsuffer Me,” as well as a full-hearted interpretation of Jimi Hendrix’s “Angel” that closes the album. Alternating with the vocal tracks are five sublime instrumental offerings including three new Lloyd originals and versions of Thelonious Monk’s “Monk’s Mood” and the Roberta Flack popularized song “Ballad of The Sad Young Men.”

“I’ve worked with a lot of poets,” Lloyd says, “especially during my Big Sur days; Lawrence Ferlinghetti, Charles Bukowski, Gary Snyder, Diane diPrima, Schyleen Qualls, Michael McClure, Bob Kaufman, James Dalessandro… putting words and music together. Lu is a poet. An authentic, American voice. Her sound is like an emotional barometer. A weather vane. Sometimes it swirls around in the tempest of a storm and sometimes it is sweet and pure as a Southern breeze carrying the intoxicating perfume of magnolia to you. As a poet, her imagery knocks me out. She is a reporter of the human condition, of life on planet Earth.”

“We know each other better now and therefore we can travel more freely down certain paths,” says Lloyd, reflecting upon how The Marvels have evolved since their 2016 debut I Long To See You, which NPR called “music that evokes an uncommon state of grace.” That album featured guest vocals from both Willie Nelson and Norah Jones, but the collaborative nature the band has nurtured with Williams has led them to even greater heights of expression. “Having Lucinda on five of the tracks adds a new dimension to the overall experience,” says Lloyd, “for my listeners and for hers. I think on the new recording we were able to let go and plunge deeply into the sound.”

Lloyd celebrated his 80th birthday in March, and is marking the milestone throughout 2018 with special concerts, residencies, festival performances including the Newport Jazz Festival where Lloyd will be the Artist In Residence performing three sets with different bands. Following a triumphant performance at the New Orleans Jazz & Heritage Festival, Lloyd and Williams will appear together at the Playboy Jazz Festival (June 10), Newport Jazz Festival (August 5), Monterey Jazz Festival (September 23), Jazz at Lincoln Center’s Rose Theater (December 14-15), and more. The NEA Jazz Master enters his ninth decade at a creative peak in what now stands as a mountainous and formidable career, continuing his lifelong artistic journey to explore the spiritual realms of wonder and beauty.

Bill Frisell, guitar
Greg Leisz, pedal steel guitar
Reuben Rogers, bass
Eric Harland, drums

Please Note: We offer this album in its native sampling rate of 48 kHz, 24-bit. The provided 96 kHz version was up-sampled and offers no audible value!

Charles Lloyd
NEA Jazz Masters and recipient of the Ordre de Chevalier des Arts et Lettres, Charles Lloyd, continues to elevate the art form with each performance and recording. Born in Memphis, Tennessee March 15, 1938. From an early age, Lloyd was immersed in that city's rich musical life and was exposed to jazz. He began playing the saxophone at the age of 9. Pianist Phineas Newborn became his mentor, and took him to Irvin Reason for lessons. His closest friend in high school was trumpeter, Booker Little. Lloyd worked in Phineas Sr's band, and became a sideman in the Blues bands of B.B. King, Howlin' Wolf, Johnnie Ace, Bobbie "Blue" Bland, and others.

In 1956 Lloyd moved to Los Angeles and graduated from the University of Southern California. During this period Lloyd played in Gerald Wilson's big band, and formed his own group that included Billy Higgins, Don Cherry, Bobby Hutcherson, Scott LAFaro, and Terry Trotter. Lloyd joined Chico Hamilton in 1960. His influence as a composer quickly pushed the group in a more progressive post-bop direction when Hamilton asked him to be the group's "music director." In 1964 Lloyd left Hamilton's group to join alto saxophonist Cannonball Adderley. He recorded two albums as a leader for Columbia Records, Discovery and Of Course, Of Course; his sidemen included Gabor Szabo, Don Friedman, Herbie Hancock, Ron Carter, Tony Williams, and Pete La Roca. In 1965 Lloyd formed a quartet with pianist, Keith Jarrett, bassist, Cecil McBee, drummer, Jack DeJohnette. It was a meeting of of straight-ahead post-bop, Free jazz, rock, and world music. Their music quickly caught the attention of jazz fans and critics. They achieved crossover success with young rock fans and became the first jazz group to play in the famed Fillmore. The album Forest Flower, Live at Monterey, sold over one million copies.

When approached by pianist, Michel Petrucciani in 1981, he resumed performing for two years to help Petrucciani get a footing on the world stage, before retreating again to his secluded life in Big Sur. Following a near death experience in 1986, Lloyd decided to rededicate himself to music. In 1989, Lloyd reestablished an active touring schedule and began recording for ECM Records. Noteworthy albums include Fish Out of Water, Canto, Voice In The Night, The Water Is Wide (featuring Brad Mehldau, John Abercrombie, Larry Grenadier and Billy Higgins) Sangam with Zakir Hussain and Eric Harland.

His 'New Quartet' with Jason Moran, piano, Reuben Rogers, bass and Eric Harland, drums has three recordings on ECM; Rabo de Nube (2008 ) was voted #1 recording for the 2008 Jazz Times Reader's and Critic's Poll, and Mirror ( 2010 ) and Passin’ Thru on Blue Note Records (2017). Commissioned by Jazztopad in Wroclaw, Poland to write a new composition to premiere at their 2013 festival, Lloyd wrote Wild Man Dance Suite for piano, bass, drums, cimbalom and lyra, released on Blue Note Records in April 2015. Lloyd formed a new group called The Marvels featuring Bill Frisell on guitar, Reuben Rogers, Eric Harland and Greg Leisz on steel guitar. Their first release I Long To See You (Blue Note 2016) featured guest tracks by Willie Nelson and Norah Jones. Vanished Gardens ( Blue Notes Records 2018 ) is a Marvels collaboration with the great American singer and poet, Lucinda Williams.

Jazztopad Festival created two additional and important commissions for Lloyd – the 2017 project titled Red Waters, Black Sky, was an homage to his great grandmother Sallie Sunflower Whitecloud, who refused to walk the Trail of Tears and all of the indigenous people who had their homelands taken away from them. This multi media project, project was written for string quartet, choir and the Marvels. The lush arrangements were written by Michael Gibbs. Lloyd’s wife Dorothy Darr created the video that became the backdrop for the performance. In 2019, Jazztopad requested a new performance of the Wildman Dance Suite, this time with orchestra. Michael Gibbs, again, wrote the arrangements and the resulting performance was a resounding success.

In celebration of his 80th birthday in 2018, Blue Note Records released a limited edition box set; 8, Kindred Spirits, Live from the Lobero featured fellow Memphian, Booker T. Jones. The box set includes CD, LP and DVD of the concert along with a 96 page book of photos commemorating Lloyd’s life and legacy. His newest recording, the sixth for Blue Note Records (2021) is Tone Poem, and once again, features the Marvels.

This album contains no booklet.