Jazz Royalty Charles Lloyd and Gerald Clayton at 222

Last night Charles Lloyd and Gerald Clayton Duo performed for the season finale at 222 in Healdsburg.  This swan song for the season was a send off that kept the audience spellbound.  Legendary jazz musician, and composer Charles Lloyd, 85 years young, performed an extraordinary set with pianist Gerald Clayton.  Clayton (b. Netherlands 1984) is a composer, arranger and award winning recording artist. Clayton on piano paired with Lloyd performing on alto sax.  The two combined their artistries for an intricate, multi-layered aesthetic that fused classical jazz and relaxed constraints of blues and classical music for an innovative style that was paradoxically soothing and startling. Lloyd and Clayton both wore loose fitting shifts, knit caps and shades befitting jazz musicians.   Clayton has received six Grammy nominations and the Thelonious Monk Int'l Jazz Piano Prize (2006).  Lloyd has collaborated with numerous jazz luminaries  including Herbie Hancock, Keith Jarrett and Billy Higgins.  Watching Clayton's dexterous fingering on the keys was reminiscent of Monk's unpredictable playing that always strikes an unexpected note or riff with flawless results.  Together, Clayton and Lloyd utilized opposing ranges and tempos. Clayton favored higher octave ranges in allegro style while Lloyd embellished in richer, base octaves and an adagio tempo.   While both musicians demonstrated their unique virtuosities in long solos, the combination of the two disparate styles evoked a contemplative, somnolent score.  Lloyd deferred a majority of the playing time to Clayton while still demonstrating a formidable prowess on his wind instruments and a robust accompaniment on maracas.  The one composition in which Lloyd played an alto flute proved his excellent staying power offering a rich, mellow sound.  However, for this selection Clayton strummed the strings on the piano which had an alien, other worldly vibe I found discordant.  Clayton did all his talking through his instrument and Lloyd spoke only briefly during the program.   Lloyd did say, "I live in the music and not comfortable with verbiage."  He did share his unrelenting "research trying to find that note that is elusive and makes me feel blessed with the missive of a spiritual life."  I felt very fortunate to be in the audience for this intimate and intoxicating evening of transcendent jazz.  The final encore had the only recognizable melody; "Somewhere" from West Side Story.  I was mystified by this choice to close out the concert but their intelligent interpretation was profoundly melancholy.