Charles Lloyd Quartet - Dream Weaver LP Grn/Blu 1966 early Press Keith Jarrett

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Charles Lloyd Quartet - Dream Weaver  LP Grn/Blu 1966 Early Pressing Stereo Archival Sleeve Keith Jarrett Jack DeJohnette Cecil McBee This is one of the great ones this Quartet shines....Essencial

Dream Weaver is the third album by jazz saxophonist Charles Lloyd, his first released on the Atlantic label, and the first recordings by the Charles Lloyd Quartet featuring Keith Jarrett, Cecil McBee and Jack DeJohnette. The Allmusic review by Thom Jurek awarded the album 4½ stars and states "Dream Weaver is a fully realized project by a band — a real band — in which each member has a unique part of the whole to contribute... There were no records like this one by new groups in 1966"

Charles Lloyd In 1960, Lloyd was invited to become music director of Chico Hamilton's group, when Eric Dolphy left to join Charles Mingus's band. The Hungarian guitarist Gábor Szabó, bassist Albert "Sparky" Stinson, and trombonist George Bohanon soon joined Lloyd in the band. Hamilton's albums on Impulse!, Passin' Thru and Man from Two Worlds, featured music arranged and written almost entirely by Lloyd. He collaborated with Nigerian drummer Babatunde Olatunji, with whom he played when he was not on the road with Hamilton. He joined the Cannonball Adderley Sextet in 1964, and performed with Nat Adderley, Joe Zawinul, Sam Jones and Louis Hayes. For two years he remained with Cannonball Adderley, whom he credits in his own development as a leader.

In New York in 1966, Lloyd formed his "classic quartet" with drummer Jack DeJohnette, pianist Keith Jarrett and bassist Cecil McBee (continued on by Ron McClure). The Quartet's 1966 live album, Forest Flower, recorded at the Monterey Jazz Festival, was one of the most successful jazz recordings of the mid-1960s, building a heterogeneous audience of rock as well as jazz fans in the prospering hippie counterculture. The Quartet toured across America and Europe. In 1967, Lloyd was voted "Jazz Artist of the Year" by DownBeat magazine.

Lloyd is given credit for anticipating world music by incorporating music from other cultures into his compositions, as early as the late 1950s. He describes his music as having "danced on many shores".[7] Peter Watrous stated, "Lloyd has come up with a strange and beautiful distillation of the American experience, part abandoned and wild, part immensely controlled and sophisticated."[8]