[.ca] Hyperion with Higgins

From Amazon.co.uk:
Hyperion with Higgins features more music from the December 1999 sessions which led to Lloyd's previous ECM release The Water Is Wide, and it's in large part a tribute to that great drummer Billy Higgins, who died in May, 2001. Besides Lloyd and Higgins, the album features John Abercombie (electric guitar), Brad Mehldau (piano) and Larry Grenadier (double-bass). All eight compositions, including the five-part "Darkness on the Delta", in which Abercrombie offers solo tribute to country blues master Robert Johnson--are by the saxophonist. They reveal his trademark ability to move convincingly between passages of intense ad libitum reflection and triplet-based swing, and the concluding "The Caravan Moves On" is the clearest example of the Near-Eastern inclinations which often surface in his work. If Lloyd's spiritually charged tone remains his own throughout, there are occasions when the aura of Getz at his most Brazilian comes to mind, as in the opening "Dancing Waters", as well as that of Coltrane at his most ritualistic--especially evident in the rubato power of "Miss Jessye". Throughout, Higgins is excellent, whether supplying the most feathery of cymbal touches or variously textured and stomping drive. Abercrombie, Mehldau and Grenadier all have their moments, but the album is chiefly notable for the compositions of Lloyd and the multi-dimensional work of its late and lamented drummer, one of the finest musicians in all of jazz. --Michael Tucker

Chronique amazon.fr:
Cet enregistrement est en fait le reliquat de la séance qui produisit The Water Is Wide. Et quel reliquat ! Pour le précédent CD avaient été essentiellement retenus les morceaux lents où le phrasé de Charles Lloyd se complaisait dans un tempo de sieste et où la présence de Brad Mehldau dominait la rythmique. Ici c'est une allure nettement plus tonique qui prévaut, et le drive de Billy Higgins - dont ce sera malheureusement l'un des derniers enregistrements n'y est pas pour rien. Qu'on écoute à cet égard les premières minutes du thème titre : le drumming enthousiasmant du batteur y pousse le saxophoniste aux antipodes de la torpeur où ce dernier a parfois tendance à s'enliser. Autre atout majeur de cet enregistrement : la guitare de John Abercrombie y retrouve la place qu'elle mérite - et que The Water Is Wide avait oblitérée -, et ce n'est que justice tant le jeu de cet immense musicien est une des composantes essentielles du son du groupe. Quant à Mehldau et Larry Grenadier, tous deux excellents par ailleurs, ils sont ici à leur juste place : deux jeunes musiciens extrêmement doués aidant trois géants à réaliser un chef-d'œuvre. --Thierry Quénum

Beautiful music:
I found this disc to be an extremely pleasant surprise as I was a bit skeptical to try Charles Lloyd again in recent years. I was very cautious because of his being on the ECM label. I remember having listened to other artists that are part of the catalogue and thought, oh, oh, he's on that weird jazz label. Instead I found this disc to be a return to the things that make Charles Lloyd one of the great jazz sax players, band leaders and probably most importantly,composers of jazz music. His ability to allow the freedom for improvisation within the structure of his music is uncanny. There is a swinging feel to this disc that gives it a certain classic swagger. The story behind the sessions is well documented but the music is what speaks to the very essense and clarity of the soul involved in the creation of good jazz. The opening song dedicated to Gilberto and Caetano entitled "Dancing Waters, Big Sur to Bahia" is a melodic soft piece that has hints of jazz samba that ripples throughout like a swell that gains momentum before it peaks on shore. Lloyd's sax rides the crest of the wave throughout. Lloyd has been compared to Coltrane and although I thoroughly disagree because he has his own voice, there are certain songs where elements of Trane come through. "Darkness on the Delta Suite" is one such song where the tenor of Lloyd is thick and robust with a Eastern edge to the runs he performs on the sax in a style reminiscent to John Coltrane. The song is deep, dark and beautiful expression of soul. Another Trane sound alike is "Miss Jessye" that begins with a sax solo, followed by a beautiful piano solo by Brad Mehidau that shifts back to Lloyd in what seems like an extended introduction to the piece. As the drums kick in it is Lloyd playing so close to Coltrane that the influence is undisputable. The title track "Hyperion with Higgins" is another song where the Trane influence is evident. There is more of the Eastern flavor explorations on "The Caravan Moves On" where Lloyd's horn takes center stage, slowly moving the band in for the ride, allowing each member to fill in the spaces created in his composition. I love this disc because it restored my belief that Charles Lloyd is one of the unsung giants of jazz who has endured decades and is still going strong to be one of the premier contemporary players. Consequently I have bought several of his ECM releases and am very pleased with the results. This is a very good disc deserving of your money if you like straight ahead jazz and the music of Charles Lloyd.

Another nice Lloyd recording on ECM:
This is the companion set to The Water Is Wide and was recorded at the same sessions; Lloyd dedicated it to session participant Billy Higgins after the drummer passed away in May 2001. Hyperion focuses on lengthier pieces, allowing plenty of blowing space for the members of the group. John Abercrombie, who popped up sporadically on the Water Is Wide, plays a lot here. Lloyd's companions certainly rise to the occasion (especially Mehldau), but the saxophonist himself is somewhat disappointing. For whatever reason, his playing here sounds really thin and weak (compare it to the richness on Canto or Voice in the Night). Nevertheless, there is some really gorgeous, inward-looking music here (especially the first two tunes) and fans of Lloyd's other ECM albums will definitely enjoy it.

This is music by the greats:
This is a great recording - and should be on any music lovers "must have" list. I was really surprised that it wasn't nominated for a grammy, especially when The Water Is Wide was overlooked last year. But given the fact that this is one of Billy Higgins last known recordings - it should be more than enough reason to get it. To hear these two Masters (Lloyd and Higgins) at work is unparalled. When you add in Grenadier, Abercrombie and Mehldau, the result is a sublime mix of ballads, blues, and beyond. It continues to amaze me that Lloyd is so overlooked in the USA. This recording also has great sound - Lloyd is a sensitive ( but not twee) and is an artist in the true sense of the word. He is definitely a contender and it rarely gets better than this. Don't hesitate, go get it now!

The water is wide, and the music ever flows.:
This tribute to the great drummer Billy Higgins is perhaps the most notable meeting between the pioneers and young lions of modern jazz: the venerable Charles Lloyd, Billy Higgins and John Abercrombie meeting Brad Mehldau and Larry Grenadier. Mehldau and Grenadier's playful harmonic progressions - unrooted and effortlessly flowing - perfectly matches Lloyd and Abercrombie's chordless sensibilities and Higgins' witty drumming. The players play off each other without restraining each other's improvisations and companions. The compositions are brilliant throughout, except for the difficult "Darkness on the Delta Suite". The last track "The Caravan Moves On" showcases Abercrombie's strangely fluid lines and Lloyd's deeply intense solos. The opening track "Dancing Waters" starts off with Mehldau's piano playing, setting the perfect background to the rest of the CD: introspective, intense, dark, yet brilliant.

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