The Charles Lloyd Quartet was formed in 1966 and was comprised of Lloyd, Keith Jarrett, Cecil McBee (later succeeded by Ron McClure), and Jack DeJohnette. This selection is paired with a work from Warne Marsh, the tenor sax player who played with his own quartet as well as with Charlie Parker & the Stars of Modern Jazz. Ronnie Ball, Paul Chambers and Philly Joe Jones back Marsh on this classic Altantic release.
2 LPs on 1 CD: Charles Lloyd Quartet: THE FLOWERING (1973)/Warne Marsh: WARNE MARSH (1958).
Includes liner notes by George Avakian and Nat Hentoff.
Charles Lloyd Quartet: Charles Lloyd (tenor saxophone, flute); Keith Jarret (piano); Cecil McBee (bass); Jack DeJohnette (drums).
Producer: George Avakian.
Recorded live at Auleen Hall, Oslo, Norway. Originally released on Atlantic (1586).
Personnel: Warne Marsh (tenor saxophone); Ronnie Ball (piano); Paul Chambers (bass); Philly Joe Jones, Paul Motian (drums).
Like much of saxophonist Charles Lloyd's output from the late '60s, Flowering is a concert recording, this time from Oslo, Norway. Live performance was the natural home for the Lloyd quartet's open-ended, but not prohibitively free-form approach. While this group enjoyed a certain hippie-era cachet, what endures in their music is the timeless value of powerful performances from musicians with few equals. The fact is, it's hard to go wrong with Lloyd's tenor sax and flute and a rhythm section made up of pianist Keith Jarrett, bassist Cecil McBee, and drummer Jack DeJohnette. Flowering is slightly more mainstream than some recordings by Lloyd's group. The players generally stick with their principal instruments, Jarrett limits his playing inside the piano, and the tunes are more focused. Even the 14-minute-plus modal vamping of Gabor Szabo's "Gypsy '66" is free of the noodling to which this group occasionally succumbed. The tracks on Warne Marsh are from dates the tenor saxophonist recorded in December 1957 and January 1958. The earlier date is a quartet outing with pianist Ronnie Ball, who, like Marsh, was a Lennie Tristano acolyte. The later tracks are a trio date. Paul Chambers, the bassist throughout, is well recorded, as he walks a relentless counterpoint to Marsh's long lines. Philly Joe Jones is on the quartet tracks; Paul Motian is the drummer for the trio set. Ball is a bit superfluous in this context, which is really about Marsh unspooling his linear, discursive logic in close communication with the bass and drums. ~ Jim Todd