1966 marked the ninth year of the Monterey Jazz Festival, and in Downbeat's report Pete Welding described a "Dizzy Gillespie for President" balloon bobbing in front of the stage on the festival's final day: "The balloon's free journey seemed to symbolize the winds of change that blew so joyously through the music onstage." The advent of non-jazz groups such as the Jefferson Airplane and the Paul Butterfield Blues Band offered further evidence that Monterey was beginning to reflect the upheaval of stylistic priorities in its programming choices.

Welding expressed disappointment with the festival in general, though, saying it had become invested with "an air of smug complacency and near-sanctimoniousness," and that while the quality of the music was high, featuring a range of performers from arranger and Miles Davis collaborator Gil Evans making a rare live appearance to singer Carmen McRae and Brazilian guitarist Bola Sete, that far too often Monterey seemed to be playing it safe.

Jazz writer Ed Podesta had much the same reaction, saying it was the first time that the festival "failed to produce a single truly memorable performance for future identification." Ironically, though, both writers seized upon many moments that bristled with musical vitality, singling out the sets of bandleader Don Ellis' 21-piece orchestra and Sete in particular. Saxophonist Charles Lloyd, whose quartet was anchored by a young Keith Jarrett and Jack DeJohnette, also made a strong impression on critics and festival attendees alike. Four of the five concerts sold out, making Monterey once again a financial success.

"Jazz From Monterey: 1966″ features recorded performances from the festival by Ellis, Sete, Lloyd and others, including Cannonball Adderley, Randy Weston, and Joe Henderson.

1966 marked the ninth year of the Monterey Jazz Festival, and in Downbeat's report Pete Welding described a "Dizzy Gillespie for President" balloon bobbing in front of the stage on the festival's final day: "The balloon's free journey seemed to symbolize the winds of change that blew so joyously through the music onstage." The advent of non-jazz groups such as the Jefferson Airplane and the Paul Butterfield Blues Band offered further evidence that Monterey was beginning to reflect the upheaval of stylistic priorities in its programming choices.

Welding expressed disappointment with the festival in general, though, saying it had become invested with "an air of smug complacency and near-sanctimoniousness," and that while the quality of the music was high, featuring a range of performers from arranger and Miles Davis collaborator Gil Evans making a rare live appearance to singer Carmen McRae and Brazilian guitarist Bola Sete, that far too often Monterey seemed to be playing it safe.

Jazz writer Ed Podesta had much the same reaction, saying it was the first time that the festival "failed to produce a single truly memorable performance for future identification." Ironically, though, both writers seized upon many moments that bristled with musical vitality, singling out the sets of bandleader Don Ellis' 21-piece orchestra and Sete in particular. Saxophonist Charles Lloyd, whose quartet was anchored by a young Keith Jarrett and Jack DeJohnette, also made a strong impression on critics and festival attendees alike. Four of the five concerts sold out, making Monterey once again a financial success.

"Jazz From Monterey: 1966″ features recorded performances from the festival by Ellis, Sete, Lloyd and others, including Cannonball Adderley, Randy Weston, and Joe Henderson.