02. I Don't Care What You Tell Me 2:59
03. Sermon 1:08
04. Sweet Juvenia 6:08
05. Heavy Karma 9:18
06. Hejira 7:10
07. Ship 2:15
08. Moonman II 8:20
Charles Lloyd, tenor sax, flute, vocals, Theremin
Michael Cohen, keyboards
Kenneth Jenkins, bass
James Zitro, drums
Bob Jenkins, vocals, sitar
Ned Doheny, vocals, guitar
Los Angeles, CA, July 9, 1970
The master reedman experienced an unmatched level of popularity for a jazz musician in the late 1960s. Lloyd (b. 1938) and his quartet, which featured a young Keith Jarrett on piano and Jack DeJohnette on drums, packed clubs and captivated festival audiences worldwide. Voted Jazzman of the Year by Down Beat Magazine in 1967, Lloyd was for a time the darling of both critics and fans. The Charles Lloyd Quartet played universities and the ballrooms and auditoriums of the psychedelic rock circuit, sharing stages with the Grateful Dead, Janis Joplin, the Byrds, and other 1960s psych-rock icons.
Lloyd's "love vibrations communicated a message of unity, openness, and acceptance to counterculture youth. In the turbulent late 1960s, when young people sought a messenger to speak the truth they were seeking, Lloyd was their "friendly big brother and their pied piper. His music was warm, inviting, and peaceful, unlike the abrasive, aggressive protest statements made by many of his 1960s contemporaries. It provided a sonic backdrop and soothing soundtrack for a generation of alienated youth.
After reaching this early pinnacle of success, Lloyd's activity decreased significantly. However, his career in the 1970s is consistently misunderstood; his "retirement was never as dramatic as many like to think. Drugs, depression, frustration with the recording industry, and increased interest in his developing spirituality inspired periods of reclusion. He toured and performed less frequently, though he remained busy with studio work and never totally put his horn down.
Jazz fans lost track of Lloyd in the 1970s, as he was channeling the majority of his musical energy outside of the normal jazz realm. Inspired by his work in the psychedelic circuit he recorded folk-rock records of his own, including Moon Man (Kapp, 1970) and Warm Waters (Kapp, 1971). A common interest in Transcendental Meditation sparked a friendship and collaborations with the Beach Boys. Mike Love and Al Jardine provided vocals, arrangements, and compositions on Lloyd's early 1970s albums and Lloyd's deft flute work is prominently heard on the Beach Boys' Surf's Up (Reprise, 1971). He even joined their touring band in 1977. Lloyd's services were also requested in the studio by groups such as The Doors, Canned Heat, and former Byrds frontman Roger McGuinn.
Lloyd's music is complex and advanced, yet even in its most adventurous moments it remains accessible. He is one of the purest melodists alive today, blessed with the ability to sing through his instrument and tug at the emotions of all who hear him. After hearing Billie Holiday early in his life, he yearned to become a singer, but realized he did not have the voice. He soon got his first saxophone, vowing to express himself and sing passionately through his horn. Like that of a vocalist, his music weaves through a wide gamut of emotions—reflective, joyous, dark, mellow, and reaching—and it always stays grounded by retaining its earthy folkiness.
There is a genuine universality in the music of Charles Lloyd. He acts as a conduit of the varied experiences of life, channeling Zen-like peacefulness and understanding to his listeners. His dedication to the music is stronger than ever and his approach is more purposeful. Passionate and sincere, each breath blown through his instrument has deep significance. This truly comes to light when seeing him perform. Audiences can not only hear, but see and feel his intent as his presence on stage is magically captivating and utterly heart warming.