Customer Reviews

Forest Flower & Soundtrack

5 star:		(15)
4 star:		(3)
3 star:		(0)
2 star:		(3)
1 star:		(0)

 

 

There is a reason for only 5 star reviews for this cd. It is one of the most accessible jazz cd's for those starting an interest in jazz. The music is like a more mellow, bluesy interpretation of Coltrane and modal jazz styles of the 60's. This is one of those cds that resulted in a crossover hippie and college-aged audience, and as a result, this album and the charles lloyd quartet was the most successful jazz group at that time. The opening title tracks are the most interesting and accessible, and don't sound that far off from the psychedelic rock that was merging with jazz at that time. In fact, Miles was inspired enough by this group to borrow some of the personnel for his electronic explorations. The rhythm section is one of the better ones still around with Jack Dejohnette, Gary Peacock, and Keith Jarrett. Charles Lloyd might not be as famous now, but his more laidback, breathy interpretation of Coltrane, and his less derivative flute playing fit in perfectly with the Jarrett and Dejohnette. This is one of those cds that non-jazz fans ask me to copy for them when they first hear it. It opens non-jazz fans to new styles...like Coltrane, and 60's jazz and soul jazz.

I picked this up recently as I only had the original version as a LP on vynyl. It was like meeting an old friend again and finding that you still have much in common. I can only guess that I have heard this song hundreds of times throughout the many years since it was originally released. I never get tired of it. The title track is one of the best songs ever penned or performed by Charles Lloyd. His sax style is completly unique, although some people have compared him to Trane. When he does sound like Trane he immediately lets you know that he has his own voice. He hits soft notes at times that sound so beautiful and yet exhilirating . The tonal quality of his playing almost sounds like he is playing an alto rather than a tenor. The musical call and response performed betweeen Lloyd and Keith Jarrett is fabulous. Keith's plucking of the interior of the piano is unforgetable. The transition from "Sunrise" to "Sunset" is suttle but if you listen carefully you can figure it out. The music on the title track is so catchy that once you've heard it you will always remember it. If you have never heard this song do yourself a favor and listen to what is considered Charles Lloyd's classic composition. I guarantee you'll listen to this particular song more that once upon purchase, you'll play it several times immediately to experience the highs and lows of the "Sunrise" and "Sunset". This is also a good buy as you get two CD's actually. You can experience some more of his offerings and another interpretation of "Forest Flower" that was recorded in 1969, three years after the original at the Monterey Jazz Festival.

I first heard this album when I was an undergraduate student at Howard University. I was in the apartment of a friend who was our first real bohemian. She served white wine with green grapes in the bottom of the glasses and told us this album would change our lives. I don't know about that, but it made a big impression on me and I rushed out to buy it immediately.I've carried it with me ever since and at least two or three days a week, I put it on when I first wake up to start the day off right. It is, of course, scratchy beyond repair at this point. Finding it on CD is such a wonderful gift and guarantees another 30 years of good morning sunshine!

Since I'm the first one to give this CD less than 5 stars, there's some chance that I'm completely missing the point. That said, I don't really understand the effusive praise that it gets; there are a bunch of jazz recordings made in the mid-60s that I would recommend over this one, including some by Charles Lloyd himself.

This CD actually contains two albums. The first, and more famous, is Forest Flower: Live at Monterey, which contains the Lloyd quartet's legendary performance at the 1966 Monterey Jazz Festival. Judging by the other reviews, the performance of "Forest Flower" seems to be very popular. To my ears, Lloyd's playing on this tune is somewhat rambling and aimless; Keith Jarrett's brilliant playing and the nice groove generated by Cecil McBee and Jack DeJohnette are the best things about it. There are better versions on Lloyd's Voice in the Night (on ECM) and Chico Hamilton's Man from Two Worlds (on Impulse).

The other track from the Monterey performance is "East of the Sun", which gets a brisk post-bop (with hints of free jazz) interpretation. The balance of the album was recorded in the studio; Jarrett's "Sorcery" is sort of avant-jazz-rock piece (Lloyd on flute) and McBee's "Song of Her" is a lovely ballad (though perhaps better performed on Lloyd's The Water Is Wide (on ECM)).

The second album on this CD, Soundtrack, is a live performance from 1968. Lloyd's tenor playing is even weaker than it was on the Forest Flower album. It opens with a smoking version of Lloyd's "Sombrero Sam", which has a much tighter, funkier groove than the original studio version. Fantastic. I think this version of "Voice in the Night" is not very good. The album closes with another version of "Forest Flower", after a mediocre introduction on solo tenor ("Pre-Dawn"). This one starts out inferior to the '66 version, but during the second half the rhythm section just locks into this incredible funky groove. One of the highlights of this disc, as far as I'm concerned.

My recommendation is to check out a bunch of Lloyd's other albums, both from the 60s (Dream Weaver, Flowering/Warne Marsh) and the 90s (Canto, Voice in the Night), before this one. It's enjoyable but he's done better. If you like those then this one is worth checking out. If nothing else, this one features a fantastic rhythm section.

Back in 1968, or so, I first heard this album. I was just discovering jazz as a high schooler. This music has held up very well over time and I enjoy it as much now as I did when I was first coming to understand jazz.

I have loved music ever since I can remember. I took a course on Jazz Aprreciation about two years ago, and it was there that I discovered this beautiful piece of work.

After hearing it, I went directly to the record store to buy it, to no avail. None of the employees there knew what I was talking about, so I was left hanging! Until one day I found it in a 'hole-in-the-wall' store, and I have been in love with it ever since.

For those who aren't die hard jazz finatics, this is still a wonderful disk to own. Smooth and laid back- althought it isn't watered down like most of the "jazz" that's out today.

I loved it, and I think you will too. Cop this one!

This is one of my all time favorite jazz cds. I have the original vinyl, scratched as it has played so often. Now I am grateful for the remaster on cd.

I was introduced to this by a jazz drummer (who became my fiance), and he said it was the best music to accompany love-making.

I was entranced. The great musicianship of jazz dynamos Lloyd, Jarrett, DeJohnette is a thrilling combination. The lyrical style, the Trane-like free form, the interplay of Lloyd and Jarett, are uplifting with some of the steps leading to a spirit evoking transcendence. It produces a gritty giddy sweetness in those reached for notes. (What build up to those high reaching notes! ah,sigh) Sunrise, sunset flow into each other with a subtlety.

It is a great cd for captivating a jazz start up collection, and intricate enough to satisfy the seasoned jazz buff. Don't hesitate but get this; don't breathe but get this. You won't be disappointed.

I too was a Howard University Student when Charles Lloyd produced this classic. All of the 'heads' were into to it. I think it was at Crampton Auditorium that Lloyd performed. The Genius of Keith Jarrett and Jack DeJohnette was also evident back there in the day. Wherever that concert was in DC, I was there.

Three times back around 1969-70 I heard the nearly hour long Forrest Flower broadcast on FM while driving across Kansas and each time would not turn the engine off until it ended ... in anticipation of hearing the attribution announced. Each time it wasn't announced. The music is thoroughly entrancing. Finally I heard it broadcast again 2 years later on my way to a first date in DC. I drove around the block for 30 minutes determined to learn the name of the group and the music when it ended. That night I bought the album and this is my 4th re-acquisition of it. Mellow, exhilirating, entrancing, dreamy begin to describe Forrest Flower. In the live version - listen for the propeller plane passing over the stadium during the outdoor recording, you'll confuse it for a bee buzzing the flower - perfect fit. The ripples of sunlight streaking the sky as the sun sets and pokes out behind clouds towards the horizon and then repeats the process ... but more faintly the next time mimic the perfect , almost never ending ... constantly evolving and improving sunset of your dreams. Just listen and see for yourself.

You know, I have been listening to a lot of 1965-67 Coltrane lately, and as essential as this is to my system, I need a break.

And maybe that was part of the idea Charles Lloyd had when he put out Forest Flower in 1967. Coltrane, Shepp, Taylor, The Black Panthers, protest vs. revolution. All this had taken over jazz that year. So Charles Lloyd comes along, and Forest Flower says--"This is all supposed to be fun. Chill for a second. We'll make the demonstration tomorrow. Let's play some tunes. RELAX!"

Not that these "tunes" leave subtance lacking. Lloyds sense of harmony and melody is increadible. Listening to is chord structres, I feel as if a Beatles or Brian Wilson has been channeled into a jazz man. His chords are so tuneful, this music is just a joy to listen to. Fresh and clean now as it was the day it was born.

I don't have to tell you about the skill of Keith Jarret or Jack Dejonette--there is a reason Miles inducted them--and proof is right here.

There was a lot of great jazz like this during this era, and unfortunately, it gets hidden in the shadow of giants like Coltrane, Miles, and Archie Shepp. Listen to them always, but dig on this sometimes, too.