Saxophone giant Charles Lloyd‘s new album, The Sky Will Still Be There Tomorrow, his 11th on the Blue Note label, opens dramatically with just the mellow, tonally plush sounds of drums provided by “our own,” Shreveport, Louisiana native Brian Blade. Pianist Jason Moran and bassist Larry Grenadier gently enter before Lloyd’s breathy and fluttering horn majestically takes center stage. It’s a beauty of a piece, and referencing Ornette Coleman‘s iconic album, it stands as the shape of the jazz to come on this much anticipated release. Charles Lloyd

Going to the title cut of this expansive two-sided album of primarily the saxophonist’s compositions, we find Lloyd and Blade musically conversing alone with each other. Their conversation is lively, enjoys some swing until Moran steps in to encourage a journey out. The saxophonist’s fingers fly as do the imaginative digits of the pianist.

Bassist Grenadier movingly opens “Ghost of Lady Day,” a somewhat dark psalm to the late Billie Holiday, the brilliant yet troubled vocalist who Lloyd said that as a child he wanted to marry. The loss prevails in Lloyd’s tender horn while also evoking her unique energy. May she rest in peace to the rhythm of Blade’s final drumbeats.

On a happier, livelier note, pianist Moran dances and swaggers on “Monk’s Dance.” Lloyd seconds that emotion, blowing incredibly energetically while offering an old school melodic attitude.

On his horn, Lloyd “sings” the lyrics and melody of “Lift Every Voice and Sing,” the Black national anthem, with great spirit and passion accompanied simply buy Moran’s piano. It becomes frenetic, as are life’s struggles, and then transcends, to calm once again.

The title of the album, The Sky Will Still Be There Tomorrow reveals an optimism that abounds within Lloyd’s huge talent and the compassionate appeal of his emotional, time-cured delivery. And, oh what a band!

Charles Lloyd