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Four-and-a-half decades after the event, saxophonist Charles Lloyd's "Love-In", recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance", "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There And Everywhere", "Love-In's" semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism. It is likely that more joints were rolled on "Love-In's" cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's "A Love Supreme" (Impulse!, 1965) and Pharoah Sanders's "Tauhid" (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as »the first psychedelic jazz group«. It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's éspouséd attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East. So "Love-In" comes with a load of baggage, some of it less than fragrant. But as 45 minutes of music, it still has legs. Lloyd's vocalized tenor (and flute on two tracks) has Coltrane-derived muscle; the young Jarrett's lyrical and funky solos, particularly on his 07:55 showcase, the gospel-ish "Sunday Morning", his two featured originals ("Sunday Morning" and the soul jazz-ish "Is It Really the Same?"), and his playing the strings of the piano directly with his hands, all remain compelling; McClure and DeJohnette are solid and inventive.
Fünf Jahrzehnte nach dem Event ist Saxophonist Charles Lloyd's "Love-In", aufgenommen 1967 live im Fillmore Auditorium in San Francisco, dem Musikzentrum der Gegenkultur an der Westküste, so viel ein archäologisches Artefakt wie ein musikalisches Dokument. Vom Sleeve-Designer Stanislaw Zagorski über das Cover des Rolling Stone Fotografen Jim Marshall, den Albumtitel und einige der Titel ("Tribal Dance", "Temple Bells") bis hin zu John Lennon und Paul McCartney's "Here There And Everywhere", riecht "Love-In's" Semiologie nach dem acidgetränkten Zeitgeist der Mitte der 1960er Jahre, einer Zeit, in der kreative Musik blühte und Rock-Fans bereit waren, sich Jazz zu Gemüte zu führen, sofern die Musiker nicht wie ihre Eltern daher kamen: Spießer in geschniegelten Anzügen, die Zynismus ausstrahlen. Es ist wahrscheinlich, dass auf dem Cover von "Love-In" mehr Joints gerollt wurden als auf jeder anderen Jazz-LP dieser Zeit, mit Ausnahme von John Coltranes "A Love Supreme" (Impulse!, 1965) und Pharoah Sanders "Tauhid" (Impulse!, 1967). Chet Helms, eine Person großen Einflusses in der Gegenkultur der Westküste, sprach für viele, als er das Lloyd-Quartett als »die erste psychedelische Jazzgruppe« bezeichnete. Es ist Lloyd's Verdienst, dass er sich zumindest in der Anfangsphase seiner Vereinnahmung durch die Gegenkultur dagegen wehrte, seine Musik zu vereinfachen. Dies ergab sich aus Lloyds Einstellung zur Gesellschaft, seinem Medienverständnis, seinem Stil und seinem Mut, Jazz in den Tempeln der Rockkultur zu spielen. Drei Jahre vor dem Trompeter Miles Davis spielte er mit seinem Quartett bereits im Fillmore West. "Love-In" kommt so mit einer Ladung Psychedelika, teilweise buchstäblich geruchsschwanger. Aber die 45 Minuten Musik haben noch immer Bedeutung: Lloyds stimmhafter Tenor (und Flöte auf zwei Tracks) hat Coltrane-Muskel; die lyrischen und funky Soli des jungen Jarrett, vor allem auf seinem 07:55 Showcase, dem gospelartige "Sunday Morning", seine beiden hier vorgestellten Eigenkompositionen ("Sunday Morning" und das Soul-Jazz-artige "Is It Really the Same?"), und sein direktes Spielen der Klaviersaiten mit den Händen bleiben überzeugend; McClure und DeJohnette sind solide und einfallsreich.
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