"My philosophy is to have a really good time and never to let anything stop me from doing what I want to do."

(1985) Capitol Records (Blue Note)


Volume 4 - "One Night With Blue Note" Preserved
Recorded at "Town Hall", NYC, February 22, 1985

    Side 1
    1. The Blessing (Charles Lloyd)
    2. Tone Poem (Charles Lloyd)
    3. Lady Day (Charles Lloyd)
    4. El Encanto

    Side 2
    1. How Long (Charles Lloyd)
    2. When You Wish Upon A Star (Washington - Harline)
    3. Jumpin' Jack (Stanley Jordan

On side one and "How Long":
Charles Lloyd - tenor saxophone, flute
Michel Petrucciani - piano
Cecil McBee - bass
Jack DeJohnette - drums

On the remaining selections:
Stanley Jordan - guitar

Jack DeJohnette appears courtesy of George Wein Collection

No label can live on past laurels and survive. Blue Note, the Rolls Royce of jazz labels, is no exception. As of this writing (April, 1985), Blue Note plans many new projects with artists that were long associated with the label as well as musicians, known and unknown., would have had no connective identity with the label.
This historic Blue Note concert was received and structured to gighlight the people and material that gave the label its life. But purposefully, musicians represented in Blue Note's new releases were also introduced. Tenor saxophonist Bennie Wallace appears on Volume two. The collaboration of Blue Note veteran Kenny Burrell and saxophonist Grover Wahington is on Volume three.
This fourth album focuses on two artists who were both new to the label in 1985. Charles Lloyd is hardly new to the jazz community. After playing a vital role in the Chico Hamilton Quintet and the Cannonball Adderley Sextet as saxophonist and composer, Lloyd struck out on his own and found unprecedented success for his music. This certainly was due in part to the creativity and tenacity of his manager and producer George Avakian, but Charles' own idiosyncratic identity and his unique blend of various, uncompromising musical forms convey an irrestible charm and sincerity.
Lloyd was never a participant in the Blue Note of yore, although Andrew Hill insists that he rehearsed for Hill's classic "Point Of Departure" album, on which Joe Henderson ultimately played tenor. During the late sixtees, Charles was breaking down stylistics and international barriers, bringing his captivating music to new venues like the Fillmore and new territories like the U.S.S.R. His quartet then included Keith Jarrett, Cecil McBee and Jack DeJohnette.
Lloyd's current quartet with the remarkable French pianist Michel Petrucciani is represented in Blue Note's first 1985 release. Their inclusion on this Blue Note concert captured an aspect of the company's current activity.
Here Charles is reunited with his original rhythm team of McBee and DeJohnette. I'd like to say that this was planned from the start. But truthfully, it was merely a circumstantial, happy coincidence. It was not till a few days after the machinations of the concert had been constructed that I realized this reunion and its significance for those involved.
Charles's set is presented in its entirety because he obviously constructed it as a whole. If one piece stands out for me, it is his caressing tribute to Billy Holiday, aptly titled "Lady Day".
Guitarist Stanley Jordan is another representative of the new Blue Note. But he is a new discovery. Jordan switched from piano to guitar at an early age. By the time he discovered Art Tatum, he was already commited to his second instrument. Tatum turned him around so much that he began to devise new ways of playing as much music on the guitar. He hit upon the touch technique, wherein one taps rather than plucks the strings. By placing both hands over the fingerboard, he soon developed a system with which he could play lead lies, chords and bass lines simultaneously like a pianist.
Fortunately, Jordan, still a young, evolving talent, sees this technique as a legitimate means to a musical end, rather than a flashy gimmick unto itself. On this night, like so many others, he won the audience with his dexterity and sincerity. When was the last time that you heard boogie woogie guitar that swung?
     -Michael Cuscuna

This album is dedicated to the guest of honor on February 22, 1985 who created, defined and sustained Blue Note: Alfred Lion. It is also dedicated to the great artists that made Blue Note what it is, most especially those who were not available to share this night and those who are no longer alive. This is a respectful celebration of the music and all who helped to create it.