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-09 Art Blakey And The Jazz Messengers
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- 19660329 Charles Lloyd Quartet
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19660101-09 Art Blakey And The Jazz MessengersChuck Mangione (tp) Frank Mitchell (ts) Keith Jarrett (p) Reggie Johnson (b) Art Blakey (dr) January 1st & 9th 1966, Lighthouse Club, Hermosa Beach, CA 1 35931 Buttercorn Lady 3.25 2 35932 Recuerdo 14.27 3 35933 The Theme 2.23 4 35934 Between Races 4.35 5 35935 My Romance 6.53 6 35936 Secret Love 9.09 1-6: Art Blakey And The Jazz Messengers - Buttercorn Lady (Limelight LM 82034, LS 86034; Universal (J) UCCM 9130)
Few jazz followers would think of trumpeter Chuck Mangione and pianist Keith Jarrett as former members of Art Blakey's Jazz Messengers, but in 1966, they both worked in the drummer's classic hard bop unit and the stint gave them needed exposure and helped the pair to develop their own individual voices. With tenor saxophonist Frank Mitchell and bassist Reggie Workman completing the quintet, this particular version of The Jazz Messengers only had the opportunity to record this one excellent live LP (which is currently out of print) but proved to be a worthy successor to their more acclaimed predecessors. 19660329 Charles Lloyd QuartetCharles Lloyd (ts, fl) Keith Jarrett (p) Cecil McBee (b) Jack DeJohnette (dr) March 29th 1966, New York, NY 1 10075 Untitled, No. 1 2 10076 Love Ship (Lloyd) 5.53 3 10077 Sombrero Sam (Lloyd) 5.13 4 10078 Dream Weaver: Meditation / Dervish Dance (Lloyd) 11.33 5 10079 Island Blues (Lloyd) 6 10080 Autumn Sequence: Autumn Prelude / Autumn
7 10081 Bird Flight (Lloyd) 9.08 8 10082 Forest Flower Vamp 1,5,8: lost 2-4,6,7: Charles Lloyd - Dream Weaver (Atlantic LP 1459, SD 1459) Review by Thom Jurek [-]The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. Dream Weaver is a fully realized project by a band -- a real band -- in which each member has a unique part of the whole to contribute. Jarrett's unusual piano style fits musically with Lloyd's lyricism in a way that it shouldn't. Jarrett was even then an iconoclast, playing harmonic figures from the inside out and relying on counterpoint to create new spaces, not fill them in. (Just listen to "Autumn Sequence," where his solos and his backing harmonics are equally strident and inventive as Lloyd's Eastern explorations of mood and mode.) And then there's the rhythm section of McBee and DeJohnette, whose modal inventions on the intervals make the "Dream Weaver" suite an exercise in open time, allowing all players to wander around inside it and take what they want out. The set closes with a group party jam on "Sombrero Sam," with Lloyd and Jarrett trading eights on a Cuban variation on a fantasia. There were no records like this one by new groups in 1966. |
