Charles Lloyd - Voice In The Night (1999)

01.Voice in the Night (6:30)
02.God Give Me Strength (4:45)
03.Dorotea's Studio (7:47)
04.Requiem (5:57)
05.Pocket Full of Blues (11:41)
06.Homage (9:26)
07.Forest Flower: Sunrise/Sunset (15:22)
08.A Flower Is a Lovesome Thing (6:49).


Charles Lloyd: Tenor Saxophone
John Abercrombie: Guitar
Billy Higgins: Percussion, Drums
Dave Holland: Double Bass.

Charles Lloyd Quartet - Love In (1967)

01.Tribal Dance 10:20
02.Temple Bells 2:58
03.Is It Really the Same? 6:04
04.Here, There and Everywhere 3:52
05.Love-In 4:57
06.Sunday Morning 8:11
07.Memphis Dues Again/Island Blues 9:10



Charles Lloyd - Flute, Sax (Tenor)
Keith Jarrett - Piano
Ron McClure - Bass
Jack DeJohnette - Drums.
Recorded live at the Fillmore, San Francisco, California.

Issued in 1966, Love-In was the follow-up to the amazing Dream Weaver, the debut of the Charles Lloyd Quartet. Love-In was recorded after the 1966 summer blowout and showed a temporary personnel change: Cecil McBee had left the group and was replaced by Ron McClure. McClure didn't possess the aggressiveness of McBee, but he more than compensated with his knowledge of the modal techniques used by Coltrane and Coleman in their bands, and possessed an even more intricate lyricism to make up for his more demure physicality. Of the seven selections here, four are by Lloyd, two by pianist Keith Jarrett, and one by Lennon/McCartney ("Here, There and Everywhere"). Certainly the '60s youth movement was making its mark on Lloyd, but he was making his mark on them, too. With young Jarrett in the mix, turning the piano over in search of new harmonic languages with which to engage not only Lloyd as a soloist but the rhythm section as well, things were certainly moving across vast terrains of musical influence and knowledge. Drummer Jack DeJohnette took it all in stride and tried to introduce as many new time signatures into the breaks as he could get away with, allowing the ever-shifting chromatics in Jarrett's playing to be his cue from 7/8 to 9/8 to 12/16 and back to equal fours ("Sunday Morning," "Temple Bells," "Memphis Dues Again"), no matter what the musical style was. And there were plenty, as Lloyd led the excursion from post-bop to modal to blues to Eastern raga to cool and back. On Love-In, everything was jazz for the Charles Lloyd Quartet, and what they made jazz from opened the music up to everybody who heard it. The album is a lasting testament to that cultural ecumenism. ~ Thom Jurek
This original 1967 recording is form the vaults of Atlantic Records. This exuberant performance includes a ten minutes jam of Charles Lloyds 'Tribal Dance', Keith Jarrett's 'Sunday Morning' and John Lennon and Paul McCartney's 'Here, There & Everywhere'. 2002.

Charles Lloyd - Forest Flower (1966)

1.Forest Flower - Sunrise (7:17)
2.Forest Flower - Sunset (10:19)
3.Sorcery (5:11)
4.Song Of Her (5:16)
5.East Of The Sun (10:20)

A very important album, a huge seller at the time and the album that brought Jarrett to wider attention. I think that the All Music Guide is wrong in crediting McBee as bassist, it was Ron McClure.
When Charles Lloyd brought his new band to Monterey in 1966, a band that included Keith Jarrett on piano, Jack DeJohnette on drums, and the inimitable -- though young -- Cecil McBee on bass, no one knew what to expect. But they all left floored and this LP is the document of that set. It is difficult to believe that, with players so young (and having been together under a year), Lloyd was able to muster a progressive jazz that was so far-reaching and so undeniably sophisticated, yet so rich and accessible. For starters, the opening two title tracks, which form a kind of suite (one is "Forest Flower-Sunrise," the other "Sunset"), showcased the already fully developed imagination of Jarrett as a pianist.
An alternative cover

... whispering arpeggios surrounded by large chords that plank up the drumming as DeJohnette crosses hands and cuts the time in order to fluctuate the time. Lloyd's own solos are demonstrative of his massive melodic gift: his improvisation skirted the edges of what was happening with Coltrane (as everyone's did), but his own sense of the deep wellspring of song and the cross-pollination of various world musics that were happening at the time kept him busy and lyrical. Elsewhere, on Jarrett's own "Sorcery," his linking front-line harmonics with Lloyd is stellar --this isn't communication, it's telepathy! Jarrett's angular solo is buoyed up by Lloyd's gorgeous ostinato phrasing. By the time the band reaches its final number, a sky-scorching version of Brooks Bowman's "East of the Sun," they have touched upon virtually the entire history of jazz and still pushed it forward with seamless aplomb. Forest Flower is a great live record.

Thom Jurek, All Music Guide

Charles Lloyd - Flute, Sax (Tenor)
Keith Jarrett - Piano
Ron McClure - Bass
Jack DeJohnette - Drums.

Charles Lloyd - Of Course, Of Course (1965)

01.Of Course, Of Course
02.The Song My Lady Sings
03.The Best Thing For You
04.The Things We Did Last Summer
05.Apex
06.One For Joan
07.Goin' To Memphis
08.Voice In The Night
09.Third Floor Richard
Bonus Tracks:
10.East Of The Sun
11.Island Blues
12.Sun Dance.

If you want one of Charles Lloyd's best albums to add to your collection then here it is." - Steve Voce, Jazz Journal Intl.

Charles Lloyd, tenor sax, flute
Gabor Szabo, guitar
Ron Carter, bass
Tony Williams, drums
---------------------------
Robbie Robertson, guitar
Albert Stinson, bass
Pete LaRoca, drums.