Style:

Often played with a combination of straight and swing feels.

Form:

A-B-A-B-C (44 Bars) [8-8-8-8-12]

Arrangements:

It  is very common to change feels for different sections in the form,  although arrangements tend to vary. On Lloyd's most widely known  recording from Live at Monterey the  band performs the entire head straight with only the first 4 bars of  the B sections swung. During the solos the A sections are straight, B  sections swung, and the first 4 bars of the C section swung with the  remainder straight. An extended outro vamp revolving around C Major is  also sometimes included after the head out.

Key:

C Major

Harmony/Overview:

This  composition shares many similarities with much of the post-bop music to have come out of the mid-late 1960's. While there are many conventional  elements throughout the piece there are also many instances of non-functional harmony and chromaticism. The main theme begins with  VIMaj7 - VMaj7 - IMaj7 - bVIIMaj7 and continues with various II - V -  I's. The form ends with min7 chords ascending in minor 3rds before returning backing to the tonic.

Recordings:

Not  the most widely known composition, it has been recorded just around a dozen times to date. "Forest Flower (Sunrise)" is the title of the main composition while "Forest Flower (Sunset)" is the title of the extended  outro vamp that is sometimes included in performances. Charles Lloyd first recorded it on Chico Hamilton's album Man from Two Worlds. He then reintroduced it on his debut album Discovery! in 1964. Lloyd's most popular rendition of this composition would come from his live album Live at Monterey, featuring the lineup of Keith Jarret, Jack DeJohnette, and Cecil McBee.

JGC Top Picks:

Charles Lloyd, Discovery!, 1964

Charles Lloyd, Live at Monterey, 1966

Moe Koffman, Goes Electric, 1968