-08-09 Charles Lloyd Quartet

661007-08-09 Charles Lloyd Quartet

Costa Mesa, CA, USA (Pacific Jazz Festival)

“Miles was also on the bill".

661026 Charles Lloyd Quartet (DI) +++

28 Jazz im WDR, Gürzenich, Köln, Germany:

02. Autumn Sequence: 9:00

a)Autumn Prelude

b)Autumn Leaves

C)Autumn Echo

03. The Song My Lady Sings 7:32

04. Tagore 8:14

661029 Charles Lloyd Quartet

October 29th, 1966, Aulaen Hall, Oslo, Norway

1 11731 East Of The Sun

2 11732 Margot

3 11733 Song Of Her

4 11734 Forest Flower: Sunrise / Sunset

5 11735 Island Blues

6 11736 Wilpan's

7 11737 Sorcery

8 11738 European Fantasy

9 11739 Little Anahid's Day

10 11740 Manhattan Carousel

11 11741 Tagore

12 11742 Is It Really The Same

13 11743 Speak Low

14 11744 Karma

15 11745 Gypsy '66

16 11746 Girl Talk

17 11747 Island To Antibes

18 11748 Sweet Georgia Bright

19 11749 Hej-Da! (Hey Daw)

20 11750 Joan

21 17858 Gypsy 13.19

22 17859 Speak Low 8.01

23 17860 Wilpan's 6.17

24 17861 Medley: Love-In / Island Blues 6.02

25 17862 Old Time Blues

26 17863 Is It Really The Same

27 17864 Margot

1-7,12,13,15-18,20,25-27: unissued

8-11,14,19: Charles Lloyd In Europe (Atlantic SD 1500)
Review by Thom Jurek [-]Before his great quartet split at the end of 1968, Charles Lloyd took this band literally to the ends of the earth. As a quartet, they had grown immensely from that first astonishing spark when they toured the summer festivals in 1966. Here they are a seasoned unit, full of nuance, elegance, and many surprises, while having moved their entire musical center over to the pursuit of Lloyd's obsession -- incorporating the music of the East into Western jazz. This show in Norway, which featured the original band of Lloyd on flute and saxes, Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums and percussion, took the idiom begun by John Coltrane and Yusef Lateef and moved it into places even they hadn't imagined. The set starts with "Tagore," a gorgeous flute piece for Lloyd with stunningly ornate percussion from DeJohnette. There is plenty of mystery but there are no edges in this tune, as the two men move from point to counterpoint to mode without seams. Just as quickly, Keith Jarrett enters the picture playing the inside of the piano and a few chords just to lend texture as Lloyd takes it out as softly as he whispered it in. "Karma" is a more conventional piece in that Jarrett creates a gently spiraling harmonic tower for Lloyd to float down from after he climbs it with gorgeous swells and a mournfully beautiful legato. The set ends with "European Fantasy" and "Hej Daj." The first is a slow modal blues, carried out by exquisitely complex harmonics created by Jarrett for both McBee and Lloyd to find their way into. Jarrett gives up nothing in his mystery. Lloyd floats along, touching points here and there before winding it out with the little flute piece at the end, which leaves the audience -- and listeners alike – stunned
21-24: Charles Lloyd Quartet Recorded In Concert - Flowering Of The Original (Atlantic SD 1586)
Review by Scott Yanow Released by Atlantic in 1971 when the Charles Lloyd Quartet was already history, these performances (from the same concert that resulted in Charles Lloyd in Europe) contain some excellent remakes ("Love In/Island Blues" and "Goin' to Memphis"), Gabor Szabo's "Gypsy '66," Cecil McBee's "Wilpan's," and a fine rendition of "Speak Low." Lloyd (whether on tenor or flute), the already impressive pianist Keith Jarrett, bassist McBee, and drummer Jack DeJohnette are heard in enthusiastic form. This set is even a bit better than the In Europe album due to the stronger (if more familiar) material.

661030 Charles Lloyd Quartet (di) (fl+++)

October 30^th 1966,Copenhagen, Danmark ,Radiohuset Concertsal,

02 Joan (Lloyd) 09:12

03 Song of Her 07:08

04 Zoltan 06:29

05 Is it Really the Same 07:07

06 Tagore 11:24

TT 44:06
Sound A

Radio broadcast mono

1967

66 - 670000 Charles Lloyd Quartet (BR)

Charles Lloyd (ts, fl) Keith Jarrett (p) Cecil McBee(b) Jack DeJohnette (dr)

Greek Theater, UC Berkeley, Berkeley, CA, USA Spring

The other group appearing was the Grateful Dead. The year might be 1966 or 1967.

670102-03-04-05-06-07-08 Charles Lloyd Quartet

Charles Lloyd (ts, fl 6) Keith Jarrett (p, ss) Ron McClure (b ) Jack DeJohnette (dr )

Shelly's Manne-Hole, Los Angeles, CA, USA

670110 Charles Lloyd Quartet

Charles Lloyd (ts, fl 6) Keith Jarrett (p, ss) Ron McClure (b ) Jack DeJohnette (dr )

Both/And Club, San Francisco, CA, USA

670120-21-28 Charles Lloyd Quartet

Charles Lloyd (ts, fl 6) Keith Jarrett (p, ss) Ron McClure (b ) Jack DeJohnette (dr )

Fillmore West Auditorium, San Francisco, CA

670127 Charles Lloyd Quartet

Charles Lloyd (ts, fl #1-8,10-16) Keith Jarrett (p #1-9,11-16, p, ss #10) Ron McClure (b #1-8,10-16) Jack DeJohnette (dr #1-8,10-16)

January 27th 1967, Fillmore West Auditorium, San Francisco, CA

1 11603 Medley: Memphis Blues Again / Island Blues

2 11604 Forest Flower (Journey Within)

3 11605 Twin Pearls

4 11606 San Francisco

5 11607 Tagore

6 11608 New Piece

7 11609 Is It Really The Same?

8 11610 Here, There And Everywhere

9 11611 Encore Of The Night (Love, No. 3)

10 11612 Lonesome Child: Song / Dance

11 11613 Lady Gabor (Memphis Green)

12 11614 Love-In

13 12374 Tribal Dance

14 12375 Temple Bells

15 12376 Sunday Morning

16 12378 Now Voyager

1,7,8,12-15: Charles Lloyd - Love-In (Atlantic LP 1481, SD 1481)

A1 Tribal Dance 10:03

A2 Temple Bells 2:44

A3 Is It Really The Same? 5:45

A4 Here There And Everywhere 3:40

B1 Love-In 4:44

B2 Sunday Morning 7:55

B3 Memphis Dues Again / Island Blues 8:57

Review by Thom Jurek [-]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
2,9-11: Charles Lloyd - Journey Within (Atlantic LP 1493, SD 1493)
All compositions by Charles Lloyd except as indicated

1."Journey Within" - 11:29

2."Love No. 3" (Keith Jarrett) - 5:37

3."Memphis Green" - 9:15

4."Lonesome Child: Song/Dance" - 10:36

Recorded on January 27, 1967 at the Fillmore Auditorium, San Francisco, California

3-6,16: unissued
Review by Jim Todd [-]This 1999 reissue lets Charles Lloyd's music of the late '60s transcend its erstwhile, hippie era, Coltrane-lite cachet and come into its own as the expression of an expansive musical vision by a quartet of formidable players. Straddling the threshold to the avant-garde, the music doesn't so much defy categorization as dispense with the need for it. Folk themes, Eastern influences, blues, modal hard bop, and impressionistic passages meld seamlessly into a unique, cohesive musical conception. The sprawling 75-minute CD compiles two concert releases: a 1967 date at New York's Fillmore East and a 1968 concert in Oslo, Norway. Soundwise, the recording is average. It captures Lloyd, on flute and tenor sax, and pianist Keith Jarrett reasonably well and just slightly less so the bassists: Ron McClure in New York, Cecil McBee in Oslo. Drummer Jack DeJohnette, however, gets spotty treatment. At times his subtle hybrid of jazz-rock and free, pulsing styles registers well, at others it becomes a muddy clatter. Still, the CD succeeds in immersing the listener in the concerts. While the members of Lloyd's quartet are and remain enormous individual talents, this is an important but secondary consideration for Lloyd. Both concerts are pure collective efforts. The players solo, but the spotlight stays on the complete group. That said, Jarrett's fans will appreciate the selections that feature the pianist working with just bassist and drummer, performing inside/outside music in the spirit of his early trio with Charlie Haden and Paul Motian.

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