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Charles Lloyd (ts, fl); Keith Jarrett (p); Ron McClure (b); Jack DeJohnette (dr)
Four-and-a-half decades after the event,
saxophonist Charles Lloyd's 'Love-In', recorded
live at San Francisco's Fillmore Auditorium in
1967, the counterculture's West Coast music hub,
endures as much as an archaeological artifact as a
musical document. From sleeve designer Stanislaw
Zagorski's treatment of Rolling Stone photographer
Jim Marshall's cover shot, through the album
title and some of the track titles ('Tribal
Dance', 'Temple Bells'), and the inclusion of John
Lennon and Paul McCartney's 'Here There And
Everywhere', 'Love-In's' semiology reeks of the
acid-drenched zeitgeist of the mid 1960s, a time
when creative music flourished, and rock fans were
prepared to embrace jazz, provided the musicians
did not come on like their parents: juicers
dressed in sharp suits exuding cynicism.
It is likely that more joints were rolled on
'Love-In's' cover than that of any other jazz LP
of the era, with the possible exception of
saxophonists John Coltrane's 'A Love Supreme'
(Impulse!, 1965) and Pharoah Sanders's 'Tauhid'
(Impulse!, 1967). Chet Helms, a key mover and
shaker in the West Coast counterculture, spoke for
many when he hailed the Lloyd quartet as ?the
first psychedelic jazz group?.
It is to Lloyd's credit that, at least in the
early stages of his adoption by the
counterculture, he resisted dumbing down his
music. The adoption stemmed from Lloyd's espoused
attitude to society, his media savvy, his
sartorial style and his sheer nerve in playing
jazz in the temples of rock culture. He took the
quartet into the Fillmore West three years before
trumpeter Miles Davis took his into the Fillmore
East.
So 'Love-In' comes with a load of baggage, some of
it less than fragrant. But as 45 minutes of
music, it still has legs. Lloyd's vocalized tenor
(and flute on two tracks) has Coltrane-derived
muscle; the young Jarrett's lyrical and funky
solos, particularly on his 07:55 showcase, the
gospel-ish 'Sunday Morning', his two featured
originals ('Sunday Morning' and the soul jazz-ish
'Is It Really the Same?'), and his playing the
strings of the piano directly with his hands, all
remain compelling; McClure and DeJohnette are
solid and inventive.
Format: 1LP 180g 33rpm / standard sleeve
Manufacturer: Pure Pleasure
Original label: Atlantic
Genre: Jazz
Kat.č.: PP 11481 (LP - audiofilský vinyl), Pure Pleasure , cena: 899.00 Kč, EAN: 5060149622834 skladem: 0ks, expedujeme do 2-40 dnů