george-lloyd,George Lloyd: Iernin, George Lloyd: Pervigilium Veneris, George Lloyd: Eleventh Symphony, George Lloyd: A Symphonic Mass, George Lloyd: Charade; Third Symphony

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44.41063

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"...THE MAHABHARATA is above all a great yarn about a family feud....[The actors] make up a richly evocative global portrait gallery..." New York Times "...A work of beauty and eloquence....It is an exhilarating experience..." Los Angeles Times9.638483

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"[O]ne of the first films Joseph L. Mankiewicz directed, and the only one Lee Strasberg ever helped write....It's a loony, enjoyably overwrought ride while it lasts."Entertainment Weekly7.817896

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"...[A] splendid, definitive reedit of Orson Welles' noir great....Unspools with all the complex, unnerving menace its writer-director had in mind all along..." -- Rating: A Entertainment Weekly "...A masterpiece..." -- 4 out of 4 stars USA Today "...Discover what the hullabaloo was about....Great Welles and a surprisingly good Heston..." -- 5 out of 5 stars - One for the Library Premiere "...Classic noir's final shout pits Orson Welles and Charlton Heston as rival investigators..." Total Film "[A] masterful wallow in noir....[Welles] inhabits another outsize monster who somehow evokes the viewer's sympathy." Premiere "Orson Welles's 1958 TOUCH OF EVIL is a work of slippery precision, a picture whose seductiveness is only enhanced by its refusal to surrender fully to our grasp."New York Times5.058788

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"...[A] splendid, definitive reedit of Orson Welles' noir great....Unspools with all the complex, unnerving menace its writer-director had in mind all along..." -- Rating: A Entertainment Weekly "...A masterpiece..." -- 4 out of 4 stars USA Today "...Discover what the hullabaloo was about....Great Welles and a surprisingly good Heston..." -- 5 out of 5 stars - One for the Library Premiere "...Classic noir's final shout pits Orson Welles and Charlton Heston as rival investigators..." Total Film "[A] masterful wallow in noir....[Welles] inhabits another outsize monster who somehow evokes the viewer's sympathy." Premiere "Orson Welles's 1958 TOUCH OF EVIL is a work of slippery precision, a picture whose seductiveness is only enhanced by its refusal to surrender fully to our grasp."New York Times5.058788

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Hagar's Song is a deeply intimate, intuitive offering from saxophonist Charles Lloyd and pianist Jason Moran, who has been a key part of Lloyd's quartet since 2008. The program is a collection of standards and originals, as well as one thorny, angular free improvisation ("Pictogram"). The title piece is a five-part suite dedicated to the memory of Lloyd's great-great grandmother, who spent most of her life as a slave. Its various sections reflect the harshness of that life, as well as moments of hope and determination. This work is not always "comfortable" to listen to, and it's not meant to be, but it is musically rich and emotionally taut. Lloyd has always celebrated his deep love of jazz and pop traditions, and those are in abundance here. The near-symbiotic dialogue the pair share on Billy Strayhorn's "Pretty Girl" and George Gershwin's "Bess You Is My Woman Now" offers both dialogic imagination as well as deep listening. (On the latter, Lloyd reveals how supple his tonal reach remains on the tenor as he nears 75; he sweeps from its middle register to something closer to the alto's.) The swinging read of "Mood Indigo" commences conventionally, but Moran's deft, blues-drenched, physical stride lends an urgency to the conversation. Likewise his punchy approach on Earl Hines' "Rosetta," where Lloyd takes the melody and opens up its joy vein, while Moran pumps it with rhythmic and lyric invention courtesy of his amazing left hand. Lloyd's love of rock and pop has its place here, too. On Bob Dylan's ballad "I Shall Be Released," Moran begins with a single repeating note, then a lone chord, as Lloyd tentatively states the melody. But by the second verse, he's quoting from Leon Russell's "A Song for You," as Moran moves its harmonic base to the modal. Lloyd brings it back via an emotional blues, but his tenor moves through its registers picking bits and pieces of the lyric line to meditate upon and explore with Moran. The closer, a reading of Brian Wilson's "God Only Knows" is just gorgeous. Moran's elaboration on the harmony in the intro sets it up outside its known parameters. Lloyd quotes the refrain and then takes the lyric line, exploring time and memory -- Lloyd ran around with the Beach Boys in Southern California in the late '60s. Satisfied, he turns it over to Moran to finish with a close, tender harmonic statement that whispers to a finish. Hagar's Song finds Lloyd and Moran at their most naturally curious and deeply attentive best, offering a conversation so intimate the listener may occasionally feel she is eavesdropping. ~ Thom Jurek0.3123547

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BOOK REVIEWS COMING SOON!!!!0.2812538

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