Charles Lloyd from 1970 to 1979, 11 albums

From discogs:

Born: 15 March 1938, Memphis, Tennessee, USA

Charles Lloyd is an Afro-American jazz saxophonist, living in Santa Barbara, California. He also plays flute, piano, tarogato and percussion.

He did make an astonishing number of albums in this period beginning with Discovery in 1964 continuing on until the present day and into the future presumably too.  Up until those dreaded eighties, in fact, he put out roughly one album per year.  Of course since there is a load of 'junk dna' in these jazz records involving endless improvisations the actual genetic content is not the greatest, much like the human genome itself. I know it's snarky to state and I'm sorry.

Of interest is that he did range over an immense number of styles in this period starting with the ordinary type jazz or modal in the sixties, as you'd expect, moving into rock-influenced country, psychedelic (the long-winded type of electric droning stuff that is), then a little bit of fusion but not much before settling in the late seventies with new agey long-winded droney stuff. Then as you'd expect came a break in the 80s before he resurfaced and returned to great productivity in the nineties and after the millenium.

Note that in the early days he collaborated with Keith Jarrett, who I mentioned before made a series of stunning orchestral composed works in the mid-seventies that blew me away since I only knew him from the interminable solo Koln concert records.  (Without a doubt those are 100% progressive, especially this record, sadly forgotten.)  Later he worked with guitarist Gabor Szabo who made some really nice fusion, quite smooth, albums himself in the seventies, which I don't recall if I posted or not, but should've.

At any rate after a couple of albums in that bizarre kind of psych-rock-country style with little progressiveness, perhaps maybe similar to the protoprog era but with jazzy passages, he smoothed out the style overall or commercialized it you could say and then made a masterpiece with Weavings, which I think is head and shoulders above all other albums from him.  Then he got into the new age stuff with Big Sur, etc.  Title track of Weavings:

An example of the more new age stuff, from the next album in 1979 called Koto or Pathless Path, Pole Star:

Thanks to the commenter who brought my attention to this artist!

Note that Mark Isham plays synths on this record.