James Lloyd | Here We Go
James Lloyd | Here We Go by Peggy Oliver
So what should a musician do when one is a year shy of celebrating 40 years with one of the most prolific contemporary jazz groups? How about diving in and record their first solo endeavor. That is the scenario and longtime dream realized for James Lloyd, one of the founding members of Pieces of a Dream. By the way, this just happens to be a very special 50 years-young birthday gift for this Philadelphia native. From a musician who is still kicking it after 16 CD’s since 1981 with P.O.A.D, including original member Curtis Harmon, it is apparent that Lloyd’s musical zest is pretty much locked in for life, whether as a solo artist or as a team player. After P.O.A.D was discovered by one of Lloyd’s major heroes, jazz legend Grover Washington, Jr. (who produced their first 3 projects), their body of work has encompassed a lengthy relationship with their fans and the radio by easily bridging R&B, gospel, steppin’, new jack swing, traditional and contemporary jazz, but never leaning too far to the left or to the right in what the current smooth jazz trends might dictate.
Though highly identified, and justifiably so, by his long time ties with P.O.A.D, Lloyd has maintained a full musical tank through the years by alongside working with Wayman Tisdale, Regina Belle, Loose Ends, Gerald Albright, Najee, amongst others. Driven by his extensive musical background and heavily influenced by his undeniable Philly roots, Lloyd now presents his solo gift to contemporary jazz in Here We Go, along with birthday party guests, Najee and Albright. The title track starts the ball rolling with an uplifting smooth jam where Lloyd’s keyboard glides through the grooves. Continuing in the same pocket, Najee’s feathery saxophone lends a sweet flavor to “Moving Right Along” while “No Holds Barred” drops understated juicy fills from Albright. Then there is the first single, “Play It Forward,” frosted by co-writer’s Nathan Mitchell’s subtle scats. Yet through all those smooth cuts, Here We Go takes time to spotlight Lloyd’s other musical affections.
The crème-de-la-crème absolutely belongs to “Y-Town, Y-Not,” a modern bop, funk ode to Lloyd’s hometown of Youngstown, Ohio and for modern jazz pioneer, Miles Davis. Though the track comes close to seven minutes, the fervor between the trumpet, keys, drums and percussion, the latter handled steadily by studio veteran Kevin Ricard, never wears thin. In another affectionate tribute to the incomparable George Duke, “For The Duke in Me” finds Lloyd frying up a mighty pan of greasy funk.
Other honorable mentions on Here We Go are presented to “Much O’Bliged,” where Lloyd’s ‘keytar’ echoes the gritty soulful vibe of Mary J. Blige and the soft gospel shades of the poignant, “Almost There,” written by former Pieces keyboardist Cherie Mitchell.
All in all, Here We Go is a more than welcome gift from Lloyd whose musical well overflows beyond belief. This solo idea that was brewing inside Lloyd’s soul for a long while also proves that musical dreams do come true. Four and three-quarter stars.
Peggy Oliver
The Urban Music Scene