Charles Lloyd

   
Artist: Charles Lloyd

   Genre(s): 
Jazz
   

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Discography:


   
 Lift Every Voice

   Year: 2002   
Tracks: 9


   
 All My Relations

   Year: 2000   
Tracks: 8


   
 The Call

   Year: 1993   
Tracks: 9

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During 1966-69 Charles Lloyd lED one of the near popular groups in jazz, a unit that played at the rock palace Fillmore West in San Francisco and toured the U.S.S.R. Lloyd's music, although loosely a bit melodious, was not watered-down and managed to catch on for respective years during a meter when nothingness was at its low point in time in popularity.


Lloyd played locally in Memphis (including with B.B. King and Bobby Blue Bland) and and then in the mid-'50s affected to Los Angeles to go to USC. During his six years in L.A., he gigged around town and played alto with Gerald Wilson's Orchestra. In 1961 he coupled the Chico Hamilton Quintet on transverse flute and tenor voice, making his recording debut and gaining a strong reputation. During 1964-65 he was with the Cannonball Adderley Sextet and and then in mid-1965 formed his own grouping. By 1966 the Charles Lloyd Quartet included Keith Jarrett, Cecil McBee (wHO was later succeeded by Ron McClure) and Jack DeJohnette and the dance band was the hit of the 1966 Monterey Jazz Festival, recorded steadily, toured Europe vI times and was unusually popular. Lloyd, whose most renowned composition is "Wood Flower," played tenor in a soft-toned adaptation of John Coltrane while his lyrical flute playing is more original. After his radical changed force in 1969, Lloyd bit by bit washy out of music, becoming a teacher of transcendental speculation. The few records he made in the seventies were quite religious and bordered on new geezerhood. However pianist Michel Petrucciani looked Lloyd up in the early '80s and persuaded him to devolve to active playing. For a period of time Petrucciani was in his quartet. By the late '80s Lloyd had a new grouping with pianist Bobo Stenson, bassist Palle Danielsson and drummer Jon Christensen that regularly recorded for ECM. Charles Lloyd, whose style remains virtually unchanged from the sixties, has recorded as a leader for Columbia, Atlantic, Kapp, A&M, Blue Note and ECM.





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