Charles Lloyd: Prometheus

Prometheus borrows its thematic material from an older Lloyd composition Hej Da!, yet he allows his new group the freedom and space to make their own sense out of their leaders tradition. Lloyd sounds invigoratedhis shimmering, wide-ranging lines reach far and stretch unseen boundaries, yet magnificently retain an elegant, singing quality. The tremendous versatility of the rhythm section is on display, as they flow in and out of sections of swing, groove, free playing, and controlled chaos. Morans playing is a concise jazz piano history lesson, incorporating everything from stride, Bill Evans-like chordal contemplation, 1970s Keith Jarrett romanticism, to the two-handed attack of Cecil Taylor. Harland is aggressive, eager and active but perfectly complementary and never overpowering. Add the fearless bass playing of Reuben Rogers and you get what is unquestionably the greatest band Lloyd has assembled since his classic group in the late 1960s.