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When Charles Lloyd gained attention in the 1960s, he was described by some as a "mellow John Coltrane." It wasn't a bad descriptionTrane was (and still is) his main influence, but he's always been a softer player. Lloyd, like Trane, has always been very spiritual, and there's no way getting around the fact that spirituality is a crucial part of Canto.
The rewarding post-bop session (which was recorded in Oslo, Norway in 1996 and employs Bobo Stenson on piano, Anders Jormin on double-bass and Billy Hart on drums) has a meditative quality, and Lloyd's modal improvisations draw heavily on Middle Eastern and Asian spiritual music.
On "Nachiketa's Lament," Lloyd switches from the tenor to the Tibetan oboemaking us wish jazzmen did that sort of thing more often. And Stenson, whose influences include Keith Jarrett and Bill Evans, is a major asset on this strong addition to Lloyd's catalogue.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.