Charles Lloyd

小簡(jiǎn)介
Charles Lloyd查理斯·勞埃德出生于1938年3月15日的美國(guó)田納西州。最早時(shí)在家鄉(xiāng)的Memphis演奏，50年代中期來(lái)到洛杉磯市，在洛杉磯市六年的時(shí)間里，查理斯·勞埃德在Gerald Wilson的大樂團(tuán)演出。1961年他加入鼓手Chico Hamilton的五重奏，開始讓人注意到他的表現(xiàn)。
查理斯·勞埃德在南加州大學(xué)攻讀音樂碩士學(xué)位，畢業(yè)后在1964-65年之間加入Cannonball Adderley的六重奏。1966年他帶領(lǐng)一個(gè)四重奏，團(tuán)員有Keith Jarrett、Cecil McBee與Jack DeJohnette，這些團(tuán)員當(dāng)時(shí)都是很年輕的，現(xiàn)在都是巨星級(jí)的角色。他們?cè)綒W洲演出六次之多，非常受歡迎。1969年之后的一段時(shí)間，演出的部分減少，查理斯·勞埃德轉(zhuǎn)投授教音樂的工作。80年代初期查理斯·勞埃德與法國(guó)裔鋼琴手Michel Petrucciani有很積極的合作，他們?cè)谥匾腗ontreux爵士樂節(jié)演出。80年代晚期，查理斯·勞埃德帶領(lǐng)新的樂團(tuán)，成員有鋼琴手Bobo Stenson、貝斯手Palle Danielsson與鼓手Jon Christensen，他們的專輯可在ECM唱片中找到。
During 1966-69 Charles Lloyd led one of the most popular groups in jazz, a unit that played at the rock palace Fillmore West in San Francisco and toured the U.S.S.R. Lloyds music, although generally a bit melodic, was not watered-down and managed to catch on for several years during a time when jazz was at its low point in popularity.
Lloyd played locally in Memphis (including with B.B. King and Bobby Blue Bland) and then in the mid-50s moved to Los Angeles to attend USC. During his six years in L.A., he gigged around town and played alto with Gerald Wilsons Orchestra. In 1961 he joined the Chico Hamilton Quintet on flute and tenor, making his recording debut and gaining a strong reputation. During 1964-65 he was with the Cannonball Adderley Sextet and then in mid-1965 formed his own group. By 1966 the Charles Lloyd Quartet included Keith Jarrett, Cecil McBee (who was later succeeded by Ron McClure) and Jack DeJohnette and the band was the hit of the 1966 Monterey Jazz Festival, recorded steadily, toured Europe six times and was remarkably popular. Lloyd, whose most famous composition is Forest Flower, played tenor in a soft-toned version of John Coltrane while his lyrical flute playing is more original. After his group changed personnel in 1969, Lloyd gradually faded out of music, becoming a teacher of transcendental meditation. The few records he made in the 1970s were quite spiritual and bordered on new age. However pianist Michel Petrucciani looked Lloyd up in the early 80s and persuaded him to return to active playing. For a period Petrucciani was in his quartet. By the late 80s Lloyd had a new group with pianist Bobo Stenson, bassist Palle Danielsson and drummer Jon Christensen that regularly recorded for ECM. Charles Lloyd, whose style remains virtually unchanged from the 1960s, has recorded as a leader for Columbia, Atlantic, Kapp, A&M, Blue Note and ECM.