This is when jazz reached its full maturity. When groups like this understood playing inside and outside almost simultaneously. Playing free without abusing it. Back then it was in the air for those players that understood how to grasp it . The rock counterpart to this jazz groupthink was Cream. This is one of the great groups and performances of the era. Charles was accused of being a Coltrane clone, but his composing and band leadership, especially here, proved he was much more than that. Furthermore, he never tried to use the heavy hammer aspect of the Coltrane influence. Fun, but not trivial, free, spirited and full of exciting musical surprises. I never tire of this piece.
Those that can, do it and create musical art. Those that can’t, criticize. To me, this is one of the greatest pieces ever recorded. Coltrane was inspiring and inspired just like Lloyd is. Btw, I was a professional guitarist with a deep love of good music and have followed Charles ever since I first saw him in a quintet led by Cannonball Adderly and was captivated by the wonderful tone poems he produced. Imo Coltrane and Lloyd were both all time greats in their own unique ways. I look forward to to listening to Lloyd’s latest album with trios. I also wish Kieth a quick recovery and am looking forward to his newest musical journey. Kieth and Charles are great composers and I hope that Jarrett pursues more composition. Btw, Lloyd is 84 and still going strong along his lifetime journeys, both musical and spiritual.
The fact that it's a live recording done outdoors blows me away. And the fact that it was recorded in 1966 is even more amazing. I've heard studio recordings recorded 60 years later that don't sound as good. And I won't even get started on the quality of the music and performance vs. today's music. A phenomenal piece of music and musical history.
What a fantastic quartet! I was 16 when I first heard this album and was blown away by it. I was into rock as all kids were back then, but because my dad exposed me to the big bands, (he was a saxophonist), I was able to appreciate jazz, although I didn't understand it at all. Now at 7, I'm still working on jazz guitar and humbly trying to immolate my jazz hero's. This group is one of the greats I still go back to time after time.
This recording brought back cherished memories of my early introduction to the unique and beautiful music of this unbelievable group of musicians. Kieth later developed free improvisation and made it an art to spontaneously improvise. Charles and Keith are truly great creative artists and are among my very favorites. Lloyd is still turning out his beautiful and unique tone poems at age 84. Also Jack DeJonette on drums and Cecil McBee on bass and I would say this was a truly great group of musicians.
Notice (at around 10:30) a plane flies over in perfect time...could be the bass line or maybe a bari sax...perfect serendipity! One of the great all-time live performances and recordings. Everyone was at the peak of their youthful creative expression and the audience was right with them and so appreciative. Such a tight rhythm section and a young Keith Jarrett just tears it up on piano. Fantastic!
One of my all-time favorite jazz pieces. I used to own the vinyl, but time and stupidity removed it from my grasp. I must have been 17 when I first heard it and to this day, the sheer elegance and transcendent fabric of this song becomes elemental. Elemental not in the sense of beginner's awareness, but where the combined expression of this group approaches the 5 elements of Nature in grandeur. Yes, Charlie Lloyd is genius in expression, yet also in his ability to form the perfect mechanism or vehicle to make audible magic. HIs fellow aliens, LOL, in the forms, of Jarrett, McBee, and DeJohnette, all geniuses in their own rights, create brain candy.
1:15 through 3:41 Keith Jarrett plays the most outrageously complicated, involved chops-y technical piano solo imaginable. At that age he was bursting with energy and technique and had to show it off constantly, but wow !! I've listened to this for over half a century and it still blows me away every time I hear it. True art and genius never gets old. Phenomenal !!
Dunno if you guys gives a damn but if you are bored like me atm then you can watch pretty much all of the new series on instaflixxer. Been streaming with my girlfriend during the lockdown xD
@@fredphoesh Yes, 'very sad to hear about Keith's debilitation. I believe the strokes happened in 2018 or so. He mentioned that it was his left hand that was handicapped in particular. I'm not sure if he has received any rehabilitation or therapy. Many stroke victims can improve with some medical care. He did muster his energy after he suffered from his past chronic fatigue syndrome, or what ever it was called. He was unable to play or do much of anything at that time in his life, but he managed to gather enough strength to record "My Wild Irish Rose" on a little cassette in his New Jersey barn-studio as a gift for his then wife "Roseanne" as a Christmas present. As a regular listener at Yoshi's Jazz Club in Oakland, circa late '90s - early 2000, I went to hear the Oscar Peterson trio play after he also had a couple of strokes. He didn't have the chops or ability he had pre-stroke, but the audience didn't care. We all hung on his every note and his courageous determination, that despite his handicap, he was forging ahead and playing to the best of his ability. At the end of his performance, with tears in our eyes, we gave him a standing ovation of applause, whistles, and cheers that lasted for ten minutes....longer than any ovation in the history of this legendary Jazz club. I was fortunate to meet Oscar after the performance, and I brought along my very first jazz L.P. recording "The Trio" featuring Oscar, Ray Brown on bass and Ed Thigpen on drums. Oscar graciously signed it in his huge, beautiful perfect script handwriting, and we took some photos. I thanked him for all the piano lessons he gave me over the decades, and particularly for the inspiration he instilled in me every time I listened to this great recording....a recording, which by the 1990's, had more scratches in it than recorded audio. I subsequently purchased the C.D. of the same recording. I also had the opportunity to meet and talk with Keith many times over the years. Yes, he was moody, at times aloof and unapproachable, and at other times very nice and thoughtful. His reputation of scolding audiences and admonishing them for being late or even being human was as part of his eccentricities as was his moaning, and caterwauling while he played. For many, Keith's "vocalizing" was an irritating distraction, but for many of us piano players, it never took away from our ability to hear each note he was playing. Many considered Keith's vocalizing to be a piano-comedy act....a world class consummate virtuoso Jazz pianist, accompanying a delusional, tone-deaf American Idol wana-be superstar...an unlikely duo. I particularly loved the time when Keith cussed-out the audience at one of his San Francisco Opera House solo piano concerts. It was a sold-out house, and it was the dream of a lifetime type of concert for any pianist. Several thousand admiring fans, and a perfect, hand-selected Steinway model "D" freshly tuned, where the pianist could play anything that came into his head. Total freedom. The publicity and Keith's written "concert rules" made it clear that attendees arriving late would have to sit in the basement and listen via a loudspeaker, until intermission, when they would then be allowed to take their seats. Coughing, sneezing, talking, and any unnecessary noise would not be allowed. No cell phones or cameras would be allowed at any time. These rules were printed in handout flyers as well as on signs in the lobby. All obedient fans were in their seats before the 8:00 p.m. deadline. We quietly waited for the master to take the stage, however he showed up twenty minutes late. Thunderous applause rang out as he appeared, and it was deadly silent once he started to play. He played some spontaneous improvisations, most of which were reminiscent of some of his earlier recordings. The audience remained compliant with the "rules" until the concert was finally finished. Once Keith walked off the stage, many in the audience thought the "rules" no longer applied, so cell phones and cameras came out of pockets and purses by the hundreds, as the audience continued to applaud and stamp their feet in hopes of Keith gracing them with an encore. After a couple of minutes of this madness, Keith strolled on stage again, this time to a barrage of flashing cameras and arms held high with cell phones tightly gripped. Keith freaked out !!! He walked over to the side of the stage where a standing microphone was placed, and he started screaming, "Is this damn thing on?" "Turn this damn microphone on, NOW, dammit !!! Finally, the microphone was turned on, and the house spotlight found Keith, as he scolded the audience... "What the hell is wrong with you, I said no cameras...you people are nothing more than a bunch of souvenir-hunting tourists, who know nothing, and don'g give a damn about this art form !!" "I've spent my entire life trying to elevate and appreciate Jazz to its rightful place as high art, and you trivialize and cheapen it by turning this concert into an amusement park, a side show !!" "You don't deserve my music !!!" With that, he turned and walked off stage. The audience was not sure what to do, but they started applauding again, and they continued for about a minute. Keith walked back on stage. He did not look at the audience as he walked over to the piano, sat down and started to play 'It Might As Well Be Spring" by Richard Rodgers. Tears began to flow as cameras were put away, and Keith continued to play the most tender, beautiful heartbreaking version of this great tune. He walked off the stage again, and the applause continued. This back and forth, on and off phenomenon continued for three more encores. We got our money's worth that night. Great performance by Keith and a legendary cussing-out to boot, followed by four fantastic encores of beloved popular Jazz standards. I saw Keith after the performance, and he was not in a good mood, so I didn't impose, but after looking back at this night, which would be the ideal dream concert for any pianist to play, I wonder if Keith now reflects upon his performances with the humility and admiration that many of us had in the audience. Certainly, his contribution to Jazz and to the art of the piano, is an enormous one. Unlike the relatively short time that Bill Evans spent on earth, Keith continued to give audiences performances and recordings lasting over a period of seven decades. Despite his current physical condition, he can look back and say his glass was more than half full....in fact, his cup overflowed for an entire lifetime.
James Baldwin - Truely, Monterey is where Sunrise and Sunset met each other and they embraced creating such a soft tune full of ocatives that can never be duplicated again. One can hear the Woodwind, Bass and Drums talking to one another and the piano comes in with its feather like melody, like an Elf running and tip toeing through the Forest. .
heard these guys... free concert on the grass lawn Seward Park Seattle... the late sixties or early seventies... i forget when. one of my favorite memories. tight tight tight.... the musical transitions still make me smile
Bought this record and was helping to paint my sister's and brother in law's house on Hale Street in San Francisco...My favorite was 'Sorcery'...put it on the turntable...My sister could not understand it at all...but as a dedicated rock and roller...I did...Still do....Part of my foundation of Music...Modern Music...What an influence to have had in this life! It was, and is, beyond a whole lot of habit, fabrication and tradition...Still listening in 2020...still hearing...still learning.
I was hooked right at the beginning: the way those notes are played - soft, smooth, gripping, delightful - all at the same time. A note is not a note: it's how it's played.
Superb maestro in piano combination+the ever present players in his trio Mr Garry Peacock nd Jack deJohnnette...an exceptional player + Mr Charles Lloyd...
I saw Charles Lloyd at the Greek Theatre on the UC Berkeley campus in September 1967. I was an entering freshman at Berkeley. He played this very song among others - a thrill I'll never forget.
I hanging w/Oscar Jackson and they had a Concert a B.U. Boston U.) we went to see Charles Lloyd and Amazing Keith Jarret. But before this I heard this Album In NY at this Player's Apartment w/a Tab of Mescaline and it was Over. Most beautiful Piece of Music I ever Heard seen them in Person. I want to be buried w/this at My Service, Thank Lord!!!
Regarding your You-Tube comment on Saxophonist Charles Lloyd Forest Flower "Live At Monterey" I agree with you that "Music has never been the same"......As a jazz musician, that period in the mid 1960's was the pinnacle of creativity, musicianship, composition and performance for Modern Jazz. All the great Jazz legends of today (most of whom are in their seventies) were hot young players in the mid 1960's. They were trained by and played with older Jazz masters, and the style and culture of Jazz then was to create truly artistic excellence. Jazz musicians back then held each other to very high standards of ability, creativity and performance. You couldn't play in a good band unless you could "cut it"..meaning you had to have a highly evolved musical concept, incredible chops (technical playing ability) and the ability to add musical contribution to the composition and the performance. Unlike much of today's offerings which emphasize superficial stylistic and visuals on stage, you had to REALLY PLAY YOUR INSTRUMENT !! Back then, we all took for granted that the culture of Jazz would continue in the vein of musical and artistic creativity and excellence. It didn't, as time went on. Yes, today in 2021, we do have many creative and talented Jazz musicians, but much of what they compose and perform are simply reconstituted and re-stylized approaches to the genius of what was created in the 1960's. Unfortunately, culture in art, music and the performing arts has integrated itself with computerized and electronic smoke and mirrors, making it much easy for mediocre musicians and artists to create offerings which used to be wrought by hand. I often need to buy parts and musical accessories at Guitar Center. While there, I will always demo the latest electronic keyboards they have on display. Quite often, as I am playing Jazz, young musicians will approach me and stand, listening to what I'm playing. When I finish, they usually say something like "Wow, man you actually PLAY the music?" I ask them "How do you make the music?" They usually say they enter a few notes into a sequencer or computerized keyboard or sound module, and it creates the music and then plays it for them. So, instead of being real musicians, these kids are merely computer operators. Sad, but true. However, on the optimistic side of this coin, there are plenty of young Jazz musicians who are not only learning to play and perform by doing it on gigs, but they have legitimate training in colleges and conservatories which offer college degrees in Jazz teaching as well as music performance. These are the young musicians who have the best of both worlds, and they are the ones who still revere and admire the great Jazz legends of the 1960's, while carrying on their musical and artistic legacy.
Was lucky enough to see Lloyd a few times after this album came out. Once at Royce Hall at UCLA and Marty’s on The Hill a jazz club in Los Angeles; also in 1991 in San Francisco. Thankfully Charles is alive and well and still performing.❤
Keith, Jack... they're unbelievably genius. Cecil fulfilled his difficult role very well too. and Charles is... so fuzzy, and sounds like wandering. yeah, he's my favorite.
This was the first modern jazz that I understood. I love it. I heard it /bought it in 1970(?) and took it to the south of France with mates from art school. We played it 6 times a day and night. Went back every year and played it again. It does not get better than this... when you know every phrase and drum beat and it is all wrapped up in your best days.
so powerful so sweet, Charles , Keith ,Jack, and Cecil, what a quartet . In my car I have play this piece many time with my sunroof down flying down the highway.
I also played "Forest Flower, Charles Lloyd live at Monterey" 1966 on my Volkswagen Bug 8-track player back in 1966 while flying down the highway with all windows open. Now, half a century later I still play it in my SUV and it remains as fresh, impressive, exciting and phenomenal as it did back in '66. 'Great tune, and great players. I met Charles, Keith, Jack and Cecil over the years and played with Charles. Great personality and wonderful musician. Modern progressive Jazz in the mid 1960's reached it zenith. The organic sound back then, the acoustic instrumentation and the incredible musicianship in the mid '60s was the most inventive, creative, expressive and sonically rich height of the art form. Nothing since has been its equal. Fortunately we have recordings of those days. Forest Flower is one of the mid 60's iconic Jazz tunes, played by legendary players.
@@gwenlorenz46 No, actually I was driving through the forests and farm fields of Oregon, however when I lived in Hollywood, I used to listen to the Temptations, and R&B pop tunes around town, and Steely Dan tunes while driving west on Sunset Blvd. through Beverly Hills, Bel Air and Pacific Palisades until it emptied out on P.C.H. in Malibu at the Pacific Ocean. I listened to Classical Music when driving along Wilshire Blvd., and to big city Big Band music (Count Basie/Duke Ellington) in downtown L.A. If you are ever driving around Carmel or Big Sur, along the Northern California Coast, you must listen to the soundtrack of the 1965 movie "The Sandpiper" (Liz Taylor & Richard Burton stars) "The Shadow of Your Smile" instrumental orchestral recording, written and arranged by the great Johnny Mandel. Heartbreaking music for breathtaking scenery. You can see and hear it right now on You-Tube: The Sandpiper (1965) Opening Credits and Music (3:26)
I used to worship this album when I was 13 or 14, and I was mostly into acid rock, Zappa and Beatles. Used to smoke up and lie back in the dark and let it take me away. A dozen years later I was playing in punk bands while secretly listening to Steely Dan. Go figure!
Granddaughter "Alice" at 2-1/2 liked Sketches of Spain, so I suggested her Dad try out Forest Flower on her...complete with that plane flying over. Still a fav of mine at 79.
Forest Flower was rooted in the Viet Nam War and the things that were happening in America as responses. This performance was one the lovelier and unique of those.
Such a great quartet. I bought this when it first came out and knew very little about Lloyd et al.Ke>that Jarrett blew me away, as they all did, God, what glorious music!
Back in the day, I was on a meditation retreat in Montecito, Cali. I didn't know who Charles Lloyd was. While everyone was at lunch, I sat down at the piano and launched into 'Round Midnight. This guy walked over, and we got to talking. He was looking for a place to live in Santa Barbara. He drove a Rolls with tinted windows. Said otherwise the cops were always pulling him over. I suggested the Hollister Ranch, about 40 miles up the coast. It had been my surfing haven for years, but it had recently been subdivided into 100 acre parcels. They went for $100K per parcel. We hit the road. Eventually, he settled in Montecito, near the Vedanta Temple, where he and his wife would meditate nightly. As interesting as his compositions and his improvs was the fluidity of his jive talk. Once settled in on the South Coast, he played from time to time at the Lobrero. While Charles negotiated the curves and cows at the Hollister Ranch, I suggested he title his next album Om on the Range.
Thank you again for uploading. This is one of my choice recordings. All my heroes there, soloing marvelously. And a beautiful composition by Mr. Lloyd. That is a forever memory and a source of permanent enjoyment.
I remember hearing this for the first time I was 15 in 67. One of my best friends turned me on to this album. We got stoned on good old cheap Mexican weed and listened to it. I was hooked and stunned. Still refreshing as when I first heard it. Another favorite album of mine around the time was Compared to What by Les McCann n Eddie Harris. late 60's, early 70's great memories and times.
Dunno. 1991. Blues stage, then le Jazz Club stage. Darryl Rowe trio. Doug on bass.Stella, set ender, ZUGABE! What's the Englis word. I haff bin in Deutschland too long. ah oui. French. ENCORE calls. Stormy Monday.What? (jazzy changes) standing ovation. nice moment but, jah. jah. Chust kidding, kiddies. It vaz good, but not like this OBVIOUSLY .Guess who was the pianist.
Many days spent sitting around the water pipe with "The Court" floating blissfully to Forrest Flower. Going to rekindle my love affair with Charles LLoyd next January on the Blue Note at Sea Cruise!
this ensemble is fantastic, Jack is superb. and funny: check it out at 15:15 what makes me love Keith like crazy though, is that he's not only this utmost talented and skilled player but he has this wit to choose what to do in the right time, his choices are so brilliant that he brings any tune to its best, beyond my expectations. he's thrilling, always surprising, enchanting, OMJarrett!! coisa mais linda!
this was the seminal jazz experience from my high school years... And it sure stands the test of time. young Jarrett was friggin awesome! This one sings to me. Thanks for putting this on youtube, Otaku.
The most enduring piece of musical workmanship I have ever been exposed to in the avant garde jazz genre. So nostalgic and dreamy I find myself re-tracing all my lifetime footsteps. I have listened to the Forest Flower set since 1984 and up to now each new listening always conjure up some fresh and new hidden melodies from this rather mystic set.
They shocked the jazz world at the time. People walked out of their performances. What totally beautiful and mesmerising music it is. Don't know what their problem was.
My Confidant stated that this particular live album is up there with..........'Kind of Blue'' and " A Love Supreme"......... since it was my 1st time hearing this Album, this past weekend, I can't quite make that claim..............However, Sunrise-Sunset..............is my new favorite discovery......
had original album after I heard it in a record shop (remember them??) bought it immediately (had to be frugal for the rest of the week tho!!) & still great (listening now via ECM Fb page & more recent CL - txs UA-cam!!)
Heard this quartet the week after the Monterey Jazz Festival at the Fillmore Auditorium. Bill Graham would occasionally book some unusual combinations of artists and on this night I guess he wanted to expose rock and roll fans to different generations of jazz. The Charles Lloyd Quartet opened. The Count Basie Orchestra headlined. A memorable concert.
I've still got the handbill from the Jan. '67 Fillmore gig, when the Quartet opened for Paul Butterfield. I'd heard this album before so I knew what to expect. The other 1300 people didn't! psychedelic-sixties.tumblr.com/post/20202003710/fillmore-auditorium-the-paul-butterfield-blues
SAW THAT SHOW! One of the highlight of my musical life! Also saw CLQ at the Avalon Ballroom. Eh. Trying too hard to win over a crowd of stoners waiting for Quicksilver Messenger Service. Which of the two is remembered and worshipped today? Not Quicksilver....
Lester Young, Wayne Shorter, Joe Henderson, Charles Lloyd, Joe Lovano. In contrast to the Colossi who take Giant Steps across the landscape, I prefer those who float like butterflies and sting like bees.
This is when jazz reached its full maturity. When groups like this understood playing inside and outside almost simultaneously. Playing free without abusing it. Back then it was in the air for those players that understood how to grasp it . The rock counterpart to this jazz groupthink was Cream. This is one of the great groups and performances of the era. Charles was accused of being a Coltrane clone, but his composing and band leadership, especially here, proved he was much more than that. Furthermore, he never tried to use the heavy hammer aspect of the Coltrane influence. Fun, but not trivial, free, spirited and full of exciting musical surprises. I never tire of this piece.
Remembering back, I had heard that Downbeat Magazine had published things unfavorable about Lloyd. I guess that's why some writers are called critics.
Those that can, do it and create musical art. Those that can’t, criticize. To me, this is one of the greatest pieces ever recorded. Coltrane was inspiring and inspired just like Lloyd is. Btw, I was a professional guitarist with a deep love of good music and have
followed Charles ever since I first saw him in a quintet led by Cannonball Adderly and was captivated by the wonderful tone poems he produced. Imo Coltrane and Lloyd were both all time greats in their own unique ways. I look forward to to listening to Lloyd’s latest album with trios. I also wish Kieth a quick recovery and am looking forward to his newest musical journey. Kieth and Charles are great composers and I hope that Jarrett pursues more composition. Btw, Lloyd is 84 and still going strong along his lifetime journeys, both musical and spiritual.
1. Robert Quay, your comment is spot on!
2. Charles Lloyd's induction into the DownBeat Hall of Fame is overdue by two decades.
Read Erik Satie's "Essay on the Critic" Timeless, superb barbed wit...
Ditto. I played it in high school early in the a.m.
The fact that it's a live recording done outdoors blows me away. And the fact that it was recorded in 1966 is even more amazing. I've heard studio recordings recorded 60 years later that don't sound as good. And I won't even get started on the quality of the music and performance vs. today's music. A phenomenal piece of music and musical history.
I listened this song while driving through an actual forest in Southern Oregon. Sublime. Simply sublime.
What a fantastic quartet! I was 16 when I first heard this album and was blown away by it. I was into rock as all kids were back then, but because my dad exposed me to the big bands, (he was a saxophonist), I was able to appreciate jazz, although I didn't understand it at all. Now at 7, I'm still
working on jazz guitar and humbly trying to immolate my jazz hero's. This group is one of the greats I still go back to time after time.
This recording brought back cherished memories of my early introduction to the unique and beautiful music of this unbelievable group of musicians. Kieth later developed free improvisation and made it an art to spontaneously improvise. Charles and Keith are truly great creative artists and are among my very favorites. Lloyd is still turning out his beautiful and unique tone poems at age 84. Also Jack DeJonette on drums and Cecil McBee on bass and I would say this was a truly great group of musicians.
This album made my brother and I Charles Lloyd fanatics, we followed him wherever he played. Oh such great memories 😊
This song will be played at my funeral someday!
A joy in my life for 45 years now.
One of the greatest performances in the history of jazz.
Notice (at around 10:30) a plane flies over in perfect time...could be the bass line or maybe a bari sax...perfect serendipity! One of the great all-time live performances and recordings. Everyone was at the peak of their youthful creative expression and the audience was right with them and so appreciative. Such a tight rhythm section and a young Keith Jarrett just tears it up on piano. Fantastic!
One of my favorite jazz sound of alll times
Same thing happened on the John Handy cut, "If only we knrew, about 22:00. These planes offered interesting sound effects to the music.
Jack DeJohnette holds it all together so beautifully
so true
One of my all-time favorite jazz pieces. I used to own the vinyl, but time and stupidity removed it from my grasp. I must have been 17 when I first heard it and to this day, the sheer elegance and transcendent fabric of this song becomes elemental. Elemental not in the sense of beginner's awareness, but where the combined expression of this group approaches the 5 elements of Nature in grandeur. Yes, Charlie Lloyd is genius in expression, yet also in his ability to form the perfect mechanism or vehicle to make audible magic. HIs fellow aliens, LOL, in the forms, of Jarrett, McBee, and DeJohnette, all geniuses in their own rights, create brain candy.
YOU SIR ARE VERY,VERY.......CORRECT!!!!!!!!
1:15 through 3:41 Keith Jarrett plays the most outrageously complicated, involved chops-y technical piano solo imaginable. At that age he was bursting with energy and technique and had to show it off constantly, but wow !! I've listened to this for over half a century and it still blows me away every time I hear it. True art and genius never gets old. Phenomenal !!
Dunno if you guys gives a damn but if you are bored like me atm then you can watch pretty much all of the new series on instaflixxer. Been streaming with my girlfriend during the lockdown xD
@Atlas Cayden Definitely, have been using instaflixxer for years myself :)
Ya I love his solos on this song!
yep, staggering pianist sadly unable to play now due to 2 strokes...
@@fredphoesh Yes, 'very sad to hear about Keith's debilitation. I believe the strokes happened in 2018 or so. He mentioned that it was his left hand that was handicapped in particular. I'm not sure if he has received any rehabilitation or therapy. Many stroke victims can improve with some medical care. He did muster his
energy after he suffered from his past chronic fatigue syndrome, or what ever it was called. He was unable to play or do much of anything at that time in his life, but he managed to gather enough strength to record "My Wild Irish Rose" on a little cassette in his New Jersey barn-studio as a gift for his then wife "Roseanne" as a Christmas present.
As a regular listener at Yoshi's Jazz Club in Oakland, circa late '90s - early 2000, I went to hear the Oscar Peterson trio play after he also had a couple of strokes. He didn't have the chops or ability he had pre-stroke, but the audience didn't care. We all hung on his every note and his courageous determination, that despite his handicap, he was forging ahead and playing to the best of his ability.
At the end of his performance, with tears in our eyes, we gave him a standing ovation of applause, whistles, and cheers that lasted for ten minutes....longer than any ovation in the history of this legendary Jazz club. I was fortunate to meet Oscar after the performance, and I brought along my very first jazz L.P. recording "The Trio" featuring Oscar, Ray Brown on bass and Ed Thigpen on drums.
Oscar graciously signed it in his huge, beautiful perfect script handwriting, and we took some photos. I thanked him for all the piano lessons he gave me over the decades, and particularly for the inspiration he instilled in me every time I listened to this great recording....a recording, which by the 1990's, had more scratches in it than recorded audio. I subsequently purchased the C.D. of the same recording.
I also had the opportunity to meet and talk with Keith many times over the years. Yes, he was moody, at times aloof and unapproachable, and at other times very nice and thoughtful. His reputation of scolding audiences and admonishing them for being late or even being human was as part of his eccentricities as was his moaning, and caterwauling while he played.
For many, Keith's "vocalizing" was an irritating distraction, but for many of us piano players, it never took away from our ability to hear each note he was playing. Many considered Keith's vocalizing to be a piano-comedy act....a world class consummate virtuoso Jazz pianist, accompanying a delusional, tone-deaf American Idol wana-be superstar...an unlikely duo.
I particularly loved the time when Keith cussed-out the audience at one of his San Francisco Opera House solo piano concerts. It was a sold-out house, and it was the dream of a lifetime type of concert for any pianist. Several thousand admiring fans, and a perfect, hand-selected Steinway model "D" freshly tuned, where the pianist could play anything that came into his head. Total freedom.
The publicity and Keith's written "concert rules" made it clear that attendees arriving late would have to sit in the basement and listen via a loudspeaker, until intermission, when they would then be allowed to take their seats. Coughing, sneezing, talking, and any unnecessary noise would not be allowed. No cell phones or cameras would be allowed at any time. These rules were printed in handout flyers as well as on signs in the lobby.
All obedient fans were in their seats before the 8:00 p.m. deadline. We quietly waited for the master to take the stage, however he showed up twenty minutes late. Thunderous applause rang out as he appeared, and it was deadly silent once he started to play. He played some spontaneous improvisations, most of which were reminiscent of some of his earlier recordings. The audience remained compliant with the "rules" until the concert was finally finished.
Once Keith walked off the stage, many in the audience thought the "rules" no longer applied, so cell phones and cameras came out of pockets and purses by the hundreds, as the audience continued to applaud and stamp their feet in hopes of Keith gracing them with an encore. After a couple of minutes of this madness, Keith strolled on stage again, this time to a barrage of flashing cameras and arms held high with cell phones tightly gripped.
Keith freaked out !!!
He walked over to the side of the stage where a standing microphone was placed, and he started screaming, "Is this damn thing on?" "Turn this damn microphone on, NOW, dammit !!! Finally, the microphone was turned on, and the house spotlight found Keith, as he scolded the audience...
"What the hell is wrong with you, I said no cameras...you people are nothing more than a bunch of souvenir-hunting tourists, who know nothing, and don'g give a damn about this art form !!" "I've spent my entire life trying to elevate and appreciate Jazz to its rightful place as high art, and you trivialize and cheapen it by turning this concert into an amusement park, a side show !!" "You don't deserve my music !!!"
With that, he turned and walked off stage. The audience was not sure what to do, but they started applauding again, and they continued for about a minute. Keith walked back on stage. He did not look at the audience as he walked over to the piano, sat down and started to play 'It Might As Well Be Spring" by Richard Rodgers. Tears began to flow as cameras were put away, and Keith continued to play the most tender, beautiful heartbreaking version of this great tune.
He walked off the stage again, and the applause continued. This back and forth, on and off phenomenon continued for three more encores. We got our money's worth that night. Great performance by Keith and a legendary cussing-out to boot, followed by four fantastic encores of beloved popular Jazz standards.
I saw Keith after the performance, and he was not in a good mood, so I didn't impose, but after looking back at this night, which would be the ideal dream concert for any pianist to play, I wonder if Keith now reflects upon his performances with the humility and admiration that many of us had in the audience. Certainly, his contribution to Jazz and to the art of the piano, is an enormous one.
Unlike the relatively short time that Bill Evans spent on earth, Keith continued to give audiences performances and recordings lasting over a period of seven decades. Despite his current physical condition, he can look back and say his glass was more than half full....in fact, his cup overflowed for an entire lifetime.
James Baldwin - Truely, Monterey is where Sunrise and Sunset met each other and they embraced creating such a soft tune full of ocatives that can never be duplicated again. One can hear the Woodwind, Bass and Drums talking to one another and the piano comes in with its feather like melody, like an Elf running and tip toeing through the Forest.
.
I saw these cats do this tune at the Filmore East back in the day. I was awed then, now listening to it...still awed.
heard these guys... free concert on the grass lawn Seward Park Seattle... the late sixties or early seventies... i forget when. one of my favorite memories.
tight tight tight.... the musical transitions still make me smile
Bought this record and was helping to paint my sister's and brother in law's house on Hale Street in San Francisco...My favorite was 'Sorcery'...put it on the turntable...My sister could not understand it at all...but as a dedicated rock and roller...I did...Still do....Part of my foundation of Music...Modern Music...What an influence to have had in this life! It was, and is, beyond a whole lot of habit, fabrication and tradition...Still listening in 2020...still hearing...still learning.
I was hooked right at the beginning: the way those notes are played - soft, smooth, gripping, delightful - all at the same time. A note is not a note: it's how it's played.
Or timed.
Superb maestro in piano combination+the ever present players in his trio Mr Garry Peacock nd Jack deJohnnette...an exceptional player + Mr Charles Lloyd...
I saw Charles Lloyd at the Greek Theatre on the UC Berkeley campus in September 1967. I was an entering freshman at Berkeley. He played this very song among others - a thrill I'll never forget.
This brings back so many memories of my husband. We listened to it so often, just relaxing. Miss him so much.
What a phenomenal document in Sound and Performance 🎶♥️🙏🏾🎶
I hanging w/Oscar Jackson and they had a Concert a B.U. Boston U.) we went to see Charles Lloyd and Amazing Keith Jarret. But before this I heard this Album In NY at this Player's Apartment w/a Tab of Mescaline and it was Over. Most beautiful Piece of Music I ever Heard seen them in Person. I want to be buried w/this at My Service, Thank Lord!!!
One of the first jazz songs I learn back in the 60s fond memories
i REMEMBER WHEN MY HUSBAND BROUGHT THIS ALBUM HOME, MUSIC HAS NEVER BEEN THE SAME FOR ME, PURE EXCELLENCE .
I'm now listening this for the first time, Ohhh!
Regarding your You-Tube comment on Saxophonist Charles Lloyd Forest Flower "Live At Monterey" I agree with you that "Music has never been the same"......As a jazz musician, that period in the mid 1960's was the pinnacle of creativity, musicianship, composition and performance for Modern Jazz. All
the great Jazz legends of today (most of whom are in their seventies) were hot young players in the mid 1960's. They were trained by and played with older Jazz masters, and the style and culture of Jazz then was to create truly artistic excellence.
Jazz musicians back then held each other to very high standards of ability, creativity and performance. You couldn't play in a good band unless you could "cut it"..meaning you had to have a highly evolved musical concept, incredible chops (technical playing ability) and the ability to add musical contribution to the composition and the performance.
Unlike much of today's offerings which emphasize superficial stylistic and visuals on stage, you had to REALLY PLAY YOUR INSTRUMENT !! Back then, we all took for granted that the culture of Jazz would continue in the vein of musical and artistic creativity and excellence. It didn't, as time went on.
Yes, today in 2021, we do have many creative and talented Jazz musicians, but much of what they compose and perform are simply reconstituted and re-stylized approaches to the genius of what was created in the 1960's. Unfortunately, culture in art, music and the performing arts has integrated itself with computerized and electronic smoke and mirrors, making it much easy for mediocre musicians and artists to create offerings which used to be wrought by hand.
I often need to buy parts and musical accessories at Guitar Center. While there, I will always demo the latest electronic keyboards they have on display. Quite often, as I am playing Jazz, young musicians will approach me and stand, listening to what I'm playing. When I finish, they usually say something like "Wow, man you actually PLAY the music?" I ask them "How do you make the music?"
They usually say they enter a few notes into a sequencer or computerized keyboard or sound module, and it creates the music and then plays it for them. So, instead of being real musicians, these kids are merely computer operators. Sad, but true.
However, on the optimistic side of this coin, there are plenty of young Jazz musicians who are not only learning to play and perform by doing it on gigs, but they have legitimate training in colleges and conservatories which offer college degrees in Jazz teaching as well as music performance.
These are the young musicians who have the best of both worlds, and they are the ones who still revere and admire the great Jazz legends of the 1960's, while carrying on their musical and artistic legacy.
@@jennifer86010 THE REAL DEAL!!!
I had this album "back in the day" (1960's) and as an aspiring jazz pianist I was enamored by Keith Jarret's solo on this tune.
Was lucky enough to see Lloyd a few times after this album came out. Once at Royce Hall at UCLA and Marty’s on The Hill a jazz club in Los Angeles; also in 1991 in San Francisco. Thankfully Charles is alive and well and still performing.❤
Keith, Jack... they're unbelievably genius.
Cecil fulfilled his difficult role very well too.
and Charles is... so fuzzy, and sounds like wandering.
yeah, he's my favorite.
This was the first modern jazz that I understood. I love it. I heard it /bought it in 1970(?) and took it
to the south of France with mates from art school. We played it 6 times a day and night. Went back every year
and played it again. It does not get better than this... when you know every phrase and drum beat and it is all
wrapped up in your best days.
I was in Amsterdam during this era (1971-2). I bought an MJQ album and La Flute Indienne, instrumental of El Condor Pasa
so powerful so sweet, Charles , Keith ,Jack, and Cecil, what a quartet . In my car
I have play this piece many time with my sunroof down flying down the highway.
I also played "Forest Flower, Charles Lloyd live at Monterey" 1966 on my Volkswagen Bug 8-track player back in 1966 while flying down the highway with all windows open. Now, half a century later I still play it in my SUV and it remains as
fresh, impressive, exciting and phenomenal as it did back in '66. 'Great tune, and great players. I met Charles, Keith, Jack and Cecil over the years and played with Charles. Great personality and wonderful musician. Modern progressive Jazz in the mid 1960's reached it zenith.
The organic sound back then, the acoustic instrumentation and the incredible musicianship in the mid '60s was the most inventive, creative, expressive and sonically rich height of the art form.
Nothing since has been its equal. Fortunately we have recordings of those days. Forest Flower is one of the mid 60's iconic Jazz tunes, played by legendary players.
@@jennifer86010 were you driving down the Pacific Coast Highway? I associate that highway with some of my favorite jazz tunes.
@@gwenlorenz46 No, actually I was driving through the forests and farm fields of Oregon, however when I lived in Hollywood, I used to listen to the Temptations, and R&B pop tunes around town, and Steely Dan tunes while driving west on
Sunset Blvd. through Beverly Hills, Bel Air and Pacific Palisades until it emptied out on P.C.H. in Malibu at the Pacific Ocean.
I listened to Classical Music when driving along Wilshire Blvd., and to big city Big Band music (Count Basie/Duke Ellington) in downtown L.A.
If you are ever driving around Carmel or Big Sur, along the Northern California Coast, you must listen to the soundtrack of the 1965 movie "The Sandpiper" (Liz Taylor & Richard Burton stars)
"The Shadow of Your Smile" instrumental orchestral recording, written and arranged by the great Johnny Mandel.
Heartbreaking music for breathtaking scenery. You can see and hear it right now on You-Tube:
The Sandpiper (1965) Opening Credits and Music (3:26)
@@jennifer86010 LOL "drive west on Sunset to the sea..." seems you did just that ;)
I have to add another comment: a fast, crazy drum solo, then this guy, this Charles Lloyd, follows up with 5 slow awesome notes - amazing!
I used to worship this album when I was 13 or 14, and I was mostly into acid rock, Zappa and Beatles. Used to smoke up and lie back in the dark and let it take me away. A dozen years later I was playing in punk bands while secretly listening to Steely Dan. Go figure!
cuz you didn't practice your scales like Keith and Jacky Terrasson did.
Or maybe you just liked the scene, man. "it's a SCENE, MAN". Seinfeld.
Me too, love Zappa's instrumental stuff. but this out my 10, 000 albums is in my top ten.
Same here🙏
You have a great ear!
Granddaughter "Alice" at 2-1/2 liked Sketches of Spain, so I suggested her Dad try out Forest Flower on her...complete with that plane flying over. Still a fav of mine at 79.
Just a f ing amazing album my cousin let me borrow it when l was 12 ! Truly l f ing lucked out! perfection Keith Jarrod on Piano
Forest Flower was rooted in the Viet Nam War and the things that were happening in America as responses. This performance was one the lovelier and unique of those.
Yes, a good way to see what these guys were getting at. Musically.
This Was the performance.
@@stevesewall x.
Such a great quartet. I bought this when it first came out and knew very little about Lloyd et al.Ke>that Jarrett blew me away, as they all did, God, what glorious music!
I discovered this when l was 12 or 13 and l still truly enjoy it! summer music
I bought this album in 1967 and met Charles Lloyd outside Dobell's record shop in London
Yess this is music!🎼🎵🎵🎵🎶🎶🎹🎹
Back in the day, I was on a meditation retreat in Montecito, Cali. I didn't know who Charles Lloyd was. While everyone was at lunch, I sat down at the piano and launched into 'Round Midnight. This guy walked over, and we got to talking. He was looking for a place to live in Santa Barbara. He drove a Rolls with tinted windows. Said otherwise the cops were always pulling him over. I suggested the Hollister Ranch, about 40 miles up the coast. It had been my surfing haven for years, but it had recently been subdivided into 100 acre parcels. They went for $100K per parcel. We hit the road. Eventually, he settled in Montecito, near the Vedanta Temple, where he and his wife would meditate nightly. As interesting as his compositions and his improvs was the fluidity of his jive talk. Once settled in on the South Coast, he played from time to time at the Lobrero. While Charles negotiated the curves and cows at the Hollister Ranch, I suggested he title his next album Om on the Range.
I don't understand how this is only 65900 views, I must have contributed 100+ views already
This always reconnects me to a place and time that was much more pure and innocent, and very interesting, as well !
Good lord, Kieth is 21 here. Astonishing at any age.
Thank you again for uploading. This is one of my choice recordings. All my heroes there, soloing marvelously. And a beautiful composition by Mr. Lloyd. That is a forever memory and a source of permanent enjoyment.
You're very welcome, Ricardo Moraes-Pinto-san!!
Otaku4 d(^_^)b
HOW GREAT THIS IS!!! Bought a CD the other day. MAGNIFICENT!
I remember hearing this for the first time I was 15 in 67. One of my best friends turned me on to this album. We got stoned on good old cheap Mexican weed and listened to it. I was hooked and stunned. Still refreshing as when I first heard it. Another favorite album of mine around the time was Compared to What by Les McCann n Eddie Harris. late 60's, early 70's great memories and times.
Hope you were at the Fillmore in Feb. '67, the night this group opened for Paul Butterfield. Un-freaking-forgettable.
GodDamnit I’m trying to make it real compared to what!
No school like the old school JAZZ 🎹🎷🎺🎵🎵🎶
Best of Monterey Jazz Fest ever, that late summer in 1966. Perhaps this will never happen like that again.
One can't reheat a souffle David. '66, '67, were supernovas in time that most folks 40 or under will never get.
I like the souffle comment. However, let us pray that folks 40 or under WILL get it (my son, age 29, does).
Dunno. 1991. Blues stage, then le Jazz Club stage. Darryl Rowe trio. Doug on bass.Stella, set ender, ZUGABE! What's the Englis word. I haff bin in Deutschland too long. ah oui. French. ENCORE calls. Stormy Monday.What? (jazzy changes) standing ovation. nice moment but, jah. jah. Chust kidding, kiddies. It vaz good, but not like this OBVIOUSLY .Guess who was the pianist.
I swear I never got high when I listened to this is the 60's!
Best comment on this page. Thanks for sharing! Great music transcends!
I can not say the same!
One of the baddest jazz pieces ever recorded..his boy starts playing the piano strings literally..absolute perfection..
The baddest jazz piece?
Rather, I think this is the best jazz piece ever by Lloyd.
...Otaku4
This is the first time I've been able to comment, Wow! Yeah!
I was in tears when I heard this in a Penthouse in NY and was delirious w/sight and sound.
Been away for a while. One of my first go to's.
Wonderful piece of music!
poetry: "delirious w/sight and sound". thank you
just heard on jazz record requests. beautiful
First jazz record I ever bought. Loved it ever since. Wonderful record.
This is where a 21-year-old Jarrett announces there's a new force on the scene.
Not to mention Jack DeJohnette. Altogether a wonderful band and great music.
Until Miles took him (and Jack) and made him play electric piano. A travesty at the time. Broke the Charles Lloyd band and they never re-formed
...yes...Keith...unf*ckingbelievable!!!
Outstanding; I believe he was received with much more appreciation in Europe.
Many days spent sitting around the water pipe with "The Court" floating blissfully to Forrest Flower. Going to rekindle my love affair with Charles LLoyd next January on the Blue Note at Sea Cruise!
I love to visualize the twinkling of the keys in the second movement of the sunset. I can see the sun going down! It touches my soul!
サングラスに映る青空がこのアルバムを物語っているようです。
何もわからない時に聴いて、ピアノが凄いと感じた人は私だけではないと思います😄
初めて聴いた時点ではスタンダーズは世に出てましたが😉
I saw this group live California State University around 1968. Amazing!
So bouyant, flowing, and sublime! A masterpiece. A musical delight that always leaves a smile on your face.
Thank you so very much for presenting this transcendent music here!
You're most welcome, Joyce-san!!
Otaku4 (*^_^)/
this is what music is supposed to sound like!!!!!!!!!
WCLK in Atlanta played this a couple of days ago and opened me up to something totally amazing still to this very day.
MY INTRODUCTION TO THIS TYPE OF MUSIC 🎶
Jazz is often sullen and seductive, but Charles Lloyd carried the talent of performing positive and uplifting jazz. His music will never be obsolete.
Lloyd and Jarrett and the gang... Pure avant-garde in the late 60's. Some Dolphy's flights can be perceived.
James W. Baldwin
This is the real deal floating like a butterfly and stinging like bee. Words cannot describe it.
Thank. You
You're welcome, Islamic Chronicles-san!!
Otaku4 (*^_^)b
THIS IS A GREAT ALBUM OLD SCHOOL
I remember first hearing this in the 60's.
I'm a new Lloyd fan.So much great music to hear.
this ensemble is fantastic, Jack is superb. and funny: check it out at 15:15
what makes me love Keith like crazy though, is that he's not only this utmost talented and skilled player but he has this wit to choose what to do in the right time, his choices are so brilliant that he brings any tune to its best, beyond my expectations. he's thrilling, always surprising, enchanting, OMJarrett!! coisa mais linda!
Awesomeness
was there yes it was everybody got a kick out of it the tune so fitting lovely sunset that day don elliss big ban next set beautiful
That energetic Jarret start at 1:16 stayed in my mind for years...
In my mind; Forest Flower Sunrise Sunset, Equinox, and A Love Supreme in that order sometime, I just change their order. But never the tunes.
I would add My Favorite Things to that list and maybe Afro Blue if it's early in the day!
Kulu se Mama
this was the seminal jazz experience from my high school years... And it sure stands the test of time. young Jarrett was friggin awesome! This one sings to me. Thanks for putting this on youtube, Otaku.
You're welcome, Dave-san!!
Otaku4 (*^_^)/
Dave Stahl
Ditto
Ditto Lives!
Amazing my brother Andrew had this album 1969
The glory of this morning is mine
and a heavenly blue sky illumines time.
I sip a cup of celestial tea
and a forest flower climbs a tree.
Highly Essential
For real! This makes remember my best friends from the block and high school. Some of them are gone and missed. Thanks for this.
You're welcome, Kwabena-san!!
Otaku4 d(^_^)b
Saw them at the Fillmore a few times.Awesome!
The most enduring piece of musical workmanship I have ever been exposed to in the avant garde jazz genre. So nostalgic and dreamy I find myself re-tracing all my lifetime footsteps. I have listened to the Forest Flower set since 1984 and up to now each new listening always conjure up some fresh and new hidden melodies from this rather mystic set.
They shocked the jazz world at the time. People walked out of their performances. What totally beautiful and mesmerising music it is. Don't know what their problem was.
SUPERB.
Heard this for the first time today on Radio 3 Jazz Requests. Excellent music
Très très bon
Magical Mystical Phenomenal all Four !!!!
Keith, Cecil and Jack. Like my buddy Clark always says: "If you can't get anybody good, why don't you just cancel the date"?
Great comment. Move this up to the top.
My Confidant stated that this particular live album is up there with..........'Kind of Blue'' and " A Love Supreme"......... since it was my 1st time hearing this Album, this past weekend, I can't quite make that claim..............However, Sunrise-Sunset..............is my new favorite discovery......
+Charmel Moore-Joiner Yeah....Like a really fine wine (that I'll never be able to afford..:-) ) almost 50 years later it gets even better!
john handy if only we knew
You were told right! This album is definitely up there with Miles and Coltrane.
What a Combo! A stellar live performance which I never ever get tired of listening to:
Everyone excelling - including the young Jack de Johnette.
The first jazz tune that I ever played, so good to hear it after so many years.
I had this album in college, but lost it! Very beautiful!
YES. THIS LP IS A KING!!
Heard this record many years ago. Incredible! Especially Keith.👍🏻
had original album after I heard it in a record shop (remember them??) bought it immediately (had to be frugal for the rest of the week tho!!) & still great (listening now via ECM Fb page & more recent CL - txs UA-cam!!)
Photography and Jazz are Cuzzins
Heard this quartet the week after the Monterey Jazz Festival at the Fillmore Auditorium. Bill Graham would occasionally book some unusual combinations of artists and on this night I guess he wanted to expose rock and roll fans to different generations of jazz. The Charles Lloyd Quartet opened. The Count Basie Orchestra headlined. A memorable concert.
I've still got the handbill from the Jan. '67 Fillmore gig, when the Quartet opened for Paul Butterfield. I'd heard this album before so I knew what to expect. The other 1300 people didn't! psychedelic-sixties.tumblr.com/post/20202003710/fillmore-auditorium-the-paul-butterfield-blues
I saw Basie in 1975. I remember the power of Butch Miles on drums. He was like a machine.
SAW THAT SHOW! One of the highlight of my musical life! Also saw CLQ at the Avalon Ballroom. Eh. Trying too hard to win over a crowd of stoners waiting for Quicksilver Messenger Service. Which of the two is remembered and worshipped today? Not Quicksilver....
Also saw Basie and Ellington (two shows, not together) at the amphitheater on Mt Tamalpais. Duke died less than two years later. I was blessed.
I think you may have your dates wrong. This was recorded September '66 and the Fillmore Count Basie gig was August '67.
damn Jack DeJohnette is the star
kush king : yeah possibly
A quartet that rivalled the one Coltrane had a few years earlier.
If i wasn/t on an all expense paid trip to Viet Nam in 66, i would have been there!!!!!!
Lester Young, Wayne Shorter, Joe Henderson, Charles Lloyd, Joe Lovano. In contrast to the Colossi who take Giant Steps across the landscape, I prefer those who float like butterflies and sting like bees.
This is the full song!