John Roos’ Blog

Charles Lloyd, now in his 70s, continues to perform at a high level, more than four decades after he first came onto the jazz scene. Playing with Cannonball Adderley and others paved the way for the launch of his own quartet, catapulting to fame with Forest Flower, an incredible tour de force, recorded live at the 1967 Monterey Jazz Festival.

Here was real “fusion” music, long before that term was applied, or in vogue. But this was a fusion without electronics or guitars. This was the time of free love and hippies. Of the Viet Nam war (and violent protest movements). Of civil rights marches and unrest, and race riots. Lloyd and his group spoke to these cross currents of culture, with an underlying turbulence.

There were rhythms that resonated with the times, akin to rock and blues, and the rhythms and forms of traditional jazz. There were ballads, with Lloyd’s wispy, mournful saxophone singing seductively sad songs, backed by Jarrett’s sensitive accompaniment. Yet Lloyd, too, showcased what, at the time, were the radical “sheets of sound” sound typified by John Coltrane, with torrents of runs and flourishes. His tone on tenor often had a middle eastern flare but he also could sound angry, or tender. Shouting, screaming, or even crying. It was quite a kaleidoscope. (Lloyd also played flute, to me, less effectively, always irritatingly sharp.)

Drummer Jack DeJohnette provided the perfect rhythmic foundation. DeJohnette was a rising star, destined to become one of the great drummers on history, starring with Miles Davis and Keith Jarrett, among many other settings. Years later, it is great to look back and recall just how great a drummer he was, even at this early stage of his career.

In many ways, the star of the group was Keith Jarrett on piano, in what became his real breakthrough role. And he took listeners on many, complex, far-reaching rides. Classically-trained, Jarrett embraced free-form styles, delving into the avant-garde world, of John Cage, Henry Cowell, and others, with prepared piano sounds, tone clusters, plucking and even strumming the piano strings, frenetic hallucinatory adventures. Yet he could be tame and tender. And he could play a Gospel-tinged, driving, rocking piano style that gave the group a sense of forward momentum. An energy. A sense that the music always would evolve, always seemed ready to explode.

This group cut several albums, that seem, in part, relics of their time, but sprinkled with great moments. For example, consider Love In, recorded at the Fillmore in San Francisco. The album cover, the design, the sound, the titles of the music all speak to that 60s era of drugs and free love. There are some real high points, such Jarrett’s amazing solo on the title cut.

But none of their other albums measures up to Forest Flower. This was the album that established Lloyd as an important voice, and put him on the map.

The opening number was the two part Forest Flower (Sunrise and Sunset). Here was an embodiment of the group’s sound and approach. Its potential and unique difference, with Llord and Jarrett effortlessly trading solos, stunning audience with originality. It was fresh and alive. It was contemporary yet timeless. It was rooted in jazz tradition and yet it all sounded new, and even revolutionary, in positive ways.

The second cut, Sorcery, displayed that more avant-garde side but with such charisma and flare. Not calculated but spontaneous. Edgy but still listenable. This contrasted brilliantly with the third cut, the almost romantic, ballad, Song Of Her. The concluding cut was East Of The Sun, somehow an appropriate, energetic summation.

This music still sounds relevant and fresh today.

But the CD re-issue also includes the 1969 album, Sountrack, highlighted by the solo Jarrett plays on the cut, Sombrero Sam. Throughout the years, I have played these moments over and over again. This is quintessential Jarrett. Here is a capsulization of why he has become one of the giants of jazz. (We can imagine Miles Davis hearing Jarrett in this band and determining to bring him into his own fold, which he did, with similarly amazing results.)

After this quartet broke up, Lloyd basically disappeared for a time. But he resurfaced several years ago on the ECM label, where he has recorded a series of albums that, mostly have been excellent to extraordinary. We here all of the characteristics of that group with Jarrett and DeJohnette. The same range of rhythms and styles. The same eclectic mix.

Guitarist John Abercrombie has been a frequent participant in several recordings (e.g., Voice in the Night). But, in particular, in this phase of his career, Lloyd seems to have determined to play and record with major young pianists. His partners have included:
- Bobo Stenson (on Notes from Big Sur and Canto)
- Jason Moran (featured on Rabo de Nube, recorded in 2007 in celebration of Lloyd’s 70th birthday)
- Geri Allen (on the 2005 album, Jumping the Creedk, and most notably on the 2-disc set, Lift Every Voice, recorded in the wake of the 9/11 tragedy)

But of all his recent pianistic partnerships, my favorites are the two albums he cut with Brad Mehldau, The Water Is Wide and Hyperion with Higgins. These two albums were recorded toward the end of the life of drummer Billy Higgins, who obviously was the center of Lloyd’s attention. But it Mehldau who steals the show, for me. This is a great opportunity to hear Mehldau the accompanist, since he normally is featured in solo or trio settings. Of the two, I prefer Water, but both are highly recommended.

Where to start? Those not familiar with Forest Flower should make this a priority. All the other albums named above also are recommended but I would go next to The Water is Wide. Like Lloyd himself, these are classics. Endlessly enjoyable, and rewarding. Music beyond boundaries. Music that has passed the test of time.