| Jazz |
Imagine, for a moment, this great trumpeter who first glimpsed the stage lights in the early 1960s, accompanying saxophonist Jackie McLean. Later, he would co-found Strata-East Records, dedicated to elevating hard bop. This live performance, with undiminished flair, continues that mission. After a hiatus in his discography, Charles Tolliver released the album *Connect* in 2020. Now, four years later, after a period of reflection and inspiration, we have this new album. To my mind, it stands as a crucial document of this artist’s prowess, a testament to his vision of his craft, subtly distilled here, likely to soon become a subject of scholarly study.
Recorded in 1973, this album remains as relevant as ever. Tolliver honed his leadership under mentors like Jackie McLean, Horace Silver, and Max Roach, who provided him space in the 1960s to play, compose, arrange, and learn what it takes to lead with confidence, vision, and camaraderie. After more than a decade of such tutelage, Tolliver struck out on his own in 1968. A year later, he formed the Music Inc. Quartet with Stanley Cowell, bassist Cecil McBee, and drummer Jimmy Hopps. Over the following five years, Tolliver established himself as a bold virtuoso, a brilliant bandleader, and arranger.
Rhythm plays a prominent role in this artist’s work, creating a kind of urban jazz reminiscent of pop art—sometimes disjointed, yet always masterful. At the close of each piece, one can hear the audience on the verge of hysteria, as if this music, with its underlying tension, were a rejuvenating force. The early 1970s saw jazz pushed into uncharted territories, influenced by emerging hard rock and electronic instruments. To match the volume and power of rock bands, jazz musicians adopted larger drum kits and amplified basses, leading to hybrid styles like jazz-rock, jazz-funk, and jazz-soul. In *Live at the Captain’s Cabin*, Tolliver and his band, rooted in bebop, take their own risks, blending bebop with more modal and avant-garde aesthetics, reminiscent of Coltrane’s later work.
This album embodies an artistic self-examination reflective of a period in which art—whether in painting, music, literature, cinema, or other forms—was steeped in intense exploration, a stark contrast to today’s era, often focused on efficiency and devoid of meaning. According to Tolliver, this live recording wasn’t planned. “We just played passionately, as usual,” he says. He attributes the cohesive spontaneity of this set to the constant touring, which kept the music fresh and exciting. “By the time we reached Edmonton, we were a tightly knit band.” For Tolliver, the energy to keep up with him was a crucial factor in choosing his musicians. “I always chose John Hicks,” he explains. “We started together even before I met Stanley [Cowell], so he was my pianist of choice. I really liked Clint Houston’s style at the time, so I brought him into the band. And young Clifford Barbaro… he had the energy I needed for the group.” Indeed, this album sounds unique today and likely inspires instant reflection—a model, an inspiration. Fifty-one years after its recording, it still has much to offer.
Tolliver and his ensemble were indisputably among the principal influencers of the following generation. Their passion—sparked by youth, genius, and an unyielding drive to be heard amid the turmoil of oppression and systemic inequalities—resonates with today’s climate. In Europe, where democracy has given way to autocracy with all its authoritarian excesses, and perhaps also among American voters who share such anxieties in this election season, Tolliver’s music feels more relevant than ever. This album is, without doubt, indispensable.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, November 3rd 2024
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