Music Inc. - 1971 - Music Inc.

Music Inc.

1971

Music Inc.

01. Ruthie's Heart             06:14

02. Brilliant Circles         04:50

03. Abscretions         06:57

04. Household of Saud         06:39

05. On the Nile             09:46

06. Departure                 05:01

07. Dave's Chant (Bonus Track)             03:37

Charles Tolliver: Trumpet

Stanley Cowell: Piano

Cecil McBee: Bass

Jimmy Hopps: Drums

Bobby Brown: Flute

Wilbur Brown: Tenor Saxophone, Flute

Jimmy Heath: Tenor Saxophone, Flute

Clifford Jordan: Tenor Saxophone, Flute

Howard Johnson: Baritone Saxophone, Tuba

Lorenzo Greenwich: Trumpet

Virgil Jones: Trumpet

Danny Moore: Trumpet

Richard Williams: Trumpet

Garnett Brown: Trombone

Curtis Fuller: Trombone

John Gordon: Trombone

Dick Griffin: Trombone

Producers: Charles Tolliver, George Klabin

Recorded November 11, 1970 in NYC

Strata-East: The Jazz Label That Told the Suits to Take a Hike (And Made Beautiful Music Doing It)

In the early 1970s, when major record labels were treating jazz musicians like yesterday's newspapers—crumbling, underpaid, and often tossed aside—two sharp-dressed rebels decided enough was enough. Trumpeter Charles Tolliver and pianist Stanley Cowell, fresh off sideman gigs with legends like Max Roach and Jackie McLean, looked at the industry and thought, "Why not just do it ourselves?" Thus, in 1971, Strata-East Records was born in a Brooklyn apartment, with a logo that Tolliver reportedly doodled himself (a simple disc with "Strata-East" scrawled underneath—talk about DIY chic).

The name? A nod to Detroit's Strata collective, but with an East Coast twist. Tolliver and Cowell weren't trying to start a revolution at first; they just wanted to release their band Music Inc.'s album without some A&R guy telling them to add more "commercial" flute solos. But word spread fast in the tight-knit jazz world, and soon saxophonist Clifford Jordan showed up with a stack of tapes he'd produced (including gems that majors had shelved). Suddenly, Strata-East wasn't just a vanity project—it was a lifeline.

The Founders: Two Visionaries Who Preferred Notes Over Contracts

Charles Tolliver, the trumpet firebrand with a tone that could melt steel (or wake up a sleepy audience), and Stanley Cowell, the piano wizard who could swing from bebop fury to ethereal mbira vibes, met in 1967 and clicked instantly. By 1969, they'd formed Music Inc., a co-led quartet that toured Europe and recorded leaders dates. But back home, the jazz market was tanking—fusion was rising, rock was roaring, and pure acoustic jazz? It was getting about as much love as a tax audit.

Frustrated with paltry advances and zero creative control, they launched Strata-East with their debut album Music Inc.. The model was radical for the time (and, let's be honest, still pretty radical today): Artists funded their own recordings, kept ownership of masters and publishing, handled promotion, and gave the label just 15% for manufacturing and distribution. Musicians got 85% of sales—compare that to the 5-20% (often zero after "recoupable" advances) from big labels. It was Black empowerment in vinyl form, born from the civil rights era's spirit of self-determination.

Cowell, who sadly passed in 2020, was the thoughtful innovator—blending African rhythms, electric keys, and classical touches. Tolliver, still going strong, kept the flame alive, calling Strata-East a "monument" to his partner. Together, they released over 50 albums in the '70s, turning a shoestring operation into a beacon.

Why It Mattered Then: Freedom in a Time of Chains

The 1970s were tough for jazz. Majors like Impulse! and Blue Note were scaling back or selling out. But Strata-East said, "Fine, we'll do it better." It became the home for spiritual jazz, post-bop fire, and Afrocentric grooves—music that pulsed with Black consciousness without compromising an ounce of artistry.

Key releases? Oh, where to start:

Cecil McBee's Mutima (1974): Bass-led mysticism that feels like a journey up the Nile.

Billy Harper's Capra Black: Intense, gospel-infused tenor sax blowouts.

Clifford Jordan's Glass Bead Games: A double-LP masterpiece of modal exploration.

Pharoah Sanders' Izipho Zam (recorded '69, released '73): Shelved by Impulse!, rescued by Strata-East—pure cosmic bliss with Leon Thomas yodeling to the heavens.

And the big "hit": Gil Scott-Heron and Brian Jackson's Winter in America (1974), with the funky anthem "The Bottle." It sold hundreds of thousands, hit Billboard charts, and kept the lights on—though, true to form, most profits went to the artists. (Imagine running a label where your bestseller doesn't make you rich. Tolliver and Cowell: saints or masochists

In an era of struggle, Strata-East was empowerment incarnate. As Tolliver put it, it flipped the script on exploitation. No wonder originals now fetch hundreds (or thousands) from collectors—rarity meets reverence.

Still Schooling the Industry (With a Wink)

Fast-forward to 2025: Strata-East is back, baby. A partnership with Mack Avenue has unleashed reissues—vinyl cut all-analog, digital streams finally flowing, anthologies dropping. Over 30 titles digitized, concerts celebrating the catalog, and young guns like Kamasi Washington, Shabaka Hutchings, and Isaiah Collier citing its influence. Spiritual jazz is hotter than ever, and Strata-East is the godfather.

Tolliver chuckles about the "spiritual jazz" tag—he's cool with it, but the music was just... jazz. Free, fierce, and artist-owned. In today's streaming world, where algorithms rule and payouts stink, Strata-East's model feels prophetic. Indie labels and DIY artists owe it a debt—proof you don't need corporate overlords to make timeless art.

And the humor? Well, picture this: Two broke musicians start a label to release one album, accidentally birth a movement, drop a quasi-hit with a song about booze ("The Bottle"—ironic for "spiritual" jazz?), and end up richer in legacy than royalties. If that's not the ultimate jazz riff—improvising your way to immortality—then what is?

Strata-East didn't just survive the '70s; it outsmarted them. And today, it's still blowing the trumpet for freedom. Grab a reissue, crank it up, and toast to Tolliver, Cowell, and the rebels who said, "Our music, our rules." Cheers—or as they'd probably say, "Play on."1.5sIndepth review of Music Inc album from 1970 Music IncMusic Inc. (1971): Charles Tolliver's Big Band Blast-Off – A Deep Dive into Strata-East's Debut Firecracker

Let's clear up the timeline first: The album we're talking about—Music Inc. by Charles Tolliver's Music Inc. Big Band—was recorded on November 11, 1970, but released in 1971 as the very first LP on the fledgling Strata-East label (catalog SES-1971). It's often casually referred to as a "1970 album" because of the recording date, but hey, in jazz years, that's close enough to count as twins. This isn't the raw quartet live at Slugs' (that's a separate beast from May 1970); this is Tolliver and co-founder Stanley Cowell saying, "Let's throw a big band party to launch our indie empire!" And what a party it was.

A Quartet Dreams Big (With a Little Help From Friends)

At the core is the killer quartet: Charles Tolliver on trumpet (blazing, lyrical, and fearless), Stanley Cowell on piano (elegant yet punchy, blending hard bop with modal adventures), Cecil McBee on bass (deep, propulsive grooves), and Jimmy Hopps on drums (swinging like he's got places to be). But for this session, they supersized it with a 13-piece supporting orchestra—think four extra trumpets, four trombones (including Curtis Fuller!), four reeds/flutes (Jimmy Heath, Clifford Jordan!), and Howard Johnson's tuba/baritone for that low-end rumble.

All compositions and arrangements are by Tolliver or Cowell. Recorded in one day in NYC, produced by Tolliver and George Klabin. It's post-bop meets progressive big band: structured yet freewheeling, hard-swinging with spiritual undertones, but no fusion fluff or rock pandering. In 1970, when jazz was supposedly "dying" commercially, this was a bold middle finger to the majors.

Ruthie's Heart (Tolliver, 6:12) – Kicks off with a rollicking head that feels like a joyous sprint. Tolliver's trumpet solo is liquid fire—high notes screaming, phrases twisting like a cat on a hot tin roof. The big band accents punch in perfectly. Cowell's piano comps with bluesy bite. Humor note: If this doesn't make you tap your foot, check your pulse—you might be listening to elevator music by mistake.

Brilliant Circles (Cowell, 4:48) – A lush, contrapuntal beauty. McBee's bass glissandos ease you in, then the winds weave a web of morphing motifs around Tolliver's soaring lines. Dick Griffin's trombone and Howard Johnson's baritone add rich colors. It's like a sunset painted in sound—meditative, almost spiritual. AllMusic calls it a "study in lush counterpoint." Perfect for when you want big band sophistication without the bombast.

Abscretions (Cowell, 6:58) – Abstract yet swinging. Cowell's tune lets the quartet stretch while the horns provide edgy accents. McBee and Hopps lock in telepathically, pushing the energy. Tolliver's solo here is inventive, dancing on the edge of avant-garde without tipping over.

Household of Saud (Tolliver, 6:38) – Political edge in the title (nod to oil empires?), but musically it's driving hard bop with fiery ensemble work. The horns roar like a protest march turned dance party.

On the Nile (Tolliver, 9:48) – The epic centerpiece. Majestic, modal, Afrocentric vibes with dramatic builds. Tolliver's trumpet evokes ancient rivers flowing through modern chaos. The big band swells are breathtaking—dramatic and majestic, as one reviewer put it. This track alone justifies the album's cult status. (Fun fact: A live quartet version appears on the Slugs' albums, but here it's orchestral grandeur.)

Departure (Tolliver, 5:00) – Closes with urgency and lift-off energy. Fast-paced, with Tolliver driving the band to a soaring finish. Feels like blasting off from Earth's troubles—fitting for an album about artistic independence.

Why It's a Masterpiece: Critical Acclaim and That Special Sauce

AllMusic's Jason Ankeny gives it 4½ stars, calling the big band "the apotheosis of Tolliver's singular creative vision." Reviewers praise the telepathic interplay, lush arrangements, and how it bridges hard bop with progressive edges. It's underappreciated (Reddit calls it "one of the most underappreciated jazz albums of all time"), yet influential—echoes in modern big bands and spiritual jazz revivals.

Humorously, imagine assembling this all-star orchestra for one session: Tolliver and Cowell probably promised pizza and artistic freedom. But seriously, it's a testament to their leadership—the supporting players shine without stealing the show, and the quartet solos burn brightest.

In the context of 1970-71: Jazz was fracturing (fusion rising, acoustic struggling), but this album screams confidence. As Strata-East's debut, it set the tone: Artist-owned, uncompromising, soulful.

Legacy Today (2025 Edition)

With Mack Avenue's partnership, this gem is remastered, streaming, and on pristine vinyl—finally easy to hear without mortgaging your house for an original. Young artists cite it; it's prophetic for indie jazz in the streaming age. If you love Woody Shaw, Freddie Hubbard big bands, or Kamasi Washington's epics, this is required listening.

Verdict: Essential. 9.5/10. It's not just an album—it's a declaration: "We got this." Tolliver's trumpet still soars, Cowell's keys sparkle, and the big band roars like it was recorded yesterday. Grab the reissue, crank "On the Nile," and let it wash over you. Just don't blame me if you start your own label afterward. Play on!

Charles Tolliver And His All Stars - 1971 - Charles Tolliver And His All Stars

Charles Tolliver And His All Stars 

1971

Charles Tolliver And His All Stars

01. Earl's World 4:23
02. Peace With Myself 9:37
03. Right Now 5:47
04. Household Of Saud 6:06
05. Lil's Paradise 7:05
06. Paper Man 6:11

Alto Saxophone – Gary Bartz (tracks: B1 to B3)
Bass – Ron Carter
Drums – Joe Chambers
Piano – Herbie Hancock
Trumpet – Charles Tolliver

This was Charles Tolliver’s first album as a leader. The setting is unique only because his second Freedom-Black Lion album “The Ringer” and all of his subsequent albums on Strata-East featured his quartet Music Inc. with pianist Stanley Cowell. Here he is surrounded in quartet and quintet formats with a truly stellar cast of the leading players on the New York jazz scene.

Charles plays the role of leader, composer and trumpeter. But it is surely that last role that deserves the most attention. The trumpet is a brass instrument that leans toward a hard sound and staccato phrasing. Yet Tolliver is the quintessence of fluidity. While it may be undeniable that he has learned from his musical heritage and past trumpet masters, a trumpeter of such flow, tone, control, lyricism and creativity is, by definition, a major musician.

Charles Tolliver first came to the professional jazz scene in the mid-sixties, when he first met Jackie McLean. Under McLean’s leadership, he played on a number of Blue Note record sessions, some of which have yet to be released. He contributed original tunes to many of those sessions.

Within a couple of years, Tolliver was a well known figure in New York circles, playing and/or recording with Booker Ervin, Archie Shepp, Andrew Hill, Roy Ayers, Art Blakey, Sonny Rollins, Willie Bobo, Gerald Wilson, McCoy Tyner, Hank Mobley, and many others. His compositions were getting recorded by many artists. He gained his greatest recognition during a two year stint with the Max Roach quintet that also included Gary Bartz and Stanley Cowell.

There is also a previously unreleased bonus track of the song, “Repetition”, recorded by Charles for this LP which will be included on this new release of the album. This song was originally made famous by Charlie Parker’s LP With Strings.

This album is certainly an important and lasting document in light of the musicians involved and in light of its unique context for Charles Tolliver. But basically, it is just a great album to listen to.

At the time of this recording, Charles was part of a whole new generation of hardboppers who were coming up in a world of new ideas. Here he is surrounded in quartet and quintet formats with a truly stellar cast of the leading players on the New York jazz scene that features Gary Bartz on sax, Herbie Hancock on piano, Ron Carter on bass, and Joe Chambers on drums. This was Charles Tolliver’s first album as a leader. The setting is unique only because his second album “The Ringer” and all of his subsequent albums on Strata-East featured his quartet Music Inc.

The first moment of genius from trumpeter Charles Tolliver – a set that wasn't originally issued on the Strata East label, but which really set the tone for all the genius to follow on Tolliver's label! At the time of the record, Charles was part of a whole new generation of hardboppers who were coming up in a world of new ideas – a time when Coltrane, Shepp, and Ayler were transforming the left side of jazz – while other musicians were pushing the boundaries of more familiar modes too. Tolliver worked with Horace Silver, Max Roach, and others at the time – and here, he's a brilliant leader right out of the box – set up with an all-star combo that features Herbie Hancock on piano, Ron Carter on bass, and Joe Chambers on drums – perfect partners for exploring the new music that Charles brings to the record. Gary Bartz joins the group on the second half – another young player about to transform a generation – and the whole album's a dream all the way through, with the mix of soul and spirit of some of Woody Shaw's first records, or maybe Bartz's first few albums for Milestone.

Charles Tolliver - 1977 - New Tolliver

Charles Tolliver

1977

New Tolliver

01. Earl's World 12:46
02. Impact 05:38
03. Compassion 11:00
04. Truth 09:48

Charles Tolliver, trumpet
Nathan Page, guitar
Steve Novosel, bass
Alvin Queen, drums

Recorded November, 1977 in Paris.

Originally only released in Japan, Released in the USA in 1980 under the name Compassion by Strata-East

I cannot tell you how I stumbled on to this powerful recording, I can only tell you how happy I am that I did.

After you've had your fill of Miles, Coltrane, Mingus, and what have you, one must remember that there was so much more, everywhere…and how exhilarating it can be to find yet someone else who speaks to you.

This late 70's release has no essence of disco or funk, as so many jazzers tried to tap into that mainstream market of the time, instead what you get are 4 tunes of powerful straight ahead jazz.

The drums are forward in the mix, and a wonderful guitar plays underneath and over the whole thing, Tolliver weaves in and out perfectly, all making for some fantastic straight ahead, reflective and swinging with some attitude.

Dipping into some more Tolliver recordings I've convinced myself there is no heavier recording that he released than this, New Tolliver.

Charles Tolliver / Music Inc. - 1974 - Live In Tokyo

Charles Tolliver / Music Inc.

1974

Live In Tokyo

01. Drought 12:06
02. Stretch 10:35
03. Truth 6:56
04. Effi 10:31
05. 'Round Midnight 8:40

Drums – Clifford Barbaro
Piano – Stanley Cowell
Trumpet – Charles Tolliver

Bass - Clint Houston

Recorded: 07 December 1973 at Yubinchokin Hall Tokyo, Japan. In association with Takafumi Ohkuma and Kuniya Inaoka of Trio Records.

Quite a few incredible Jazz trumpet players get lost in the mix, overshadowed by big names like Louis Armstrong, Dizzy Gillespie, Miles Davis, Clifford Brown, Lee Morgan and Freddy Hubbard. Even people who used to be legends seem to be being forgotten by a new generation of Jazz fans. I can't tell you how many people I talk to that don't know who Roy Eldridge is: blasphemy, really. But who's to blame for this? Record companies seem to be more interested in repackaging already-available albums that sell well.

This brings me to Charles Tolliver. In the company of other trumpet players like Donald Byrd, Booker Little, Blue Mitchell,Woody Shaw and Kenny Dorham, that are less talked about in conversations of greatness, Charles Tolliver's entire discography is extremely hard to get a hold of. I failed in my first 5 attempts to purchase one of his records on the internet. At last, Live in Tokyo showed up at my doorstep.

The quartet, Music Inc., plays five long songs on this set. What this does is allow for more of the moments of cohesive brilliance. I'm especially appreciative of when the others back off and let bassist Clint Houston take center stage. "Stretch" and "Effi" are my favorite songs because of this. The first piece, "Drought", is charged with energy but drummer Clifford Barbaro gets a bit too heavy on the cymbal work for my taste. It drowns out the others a bit.

Once you hear Music Inc. though, it's easy to see why they were one of the most popular Jazz bands at the time, even if you foolishly only noticed the clinic that Charles Tolliver puts on.

Charles Tolliver / Music Inc. - 1973 - Live At The Loosdrecht Festival

Charles Tolliver / Music Inc.

1973

Live At The Loosdrecht Festival

01. Grand Max 11:06
02. Truth 10:13
03. Prayer For Peace 15:08
04. Our Second Father 15:57
05. Repetition 12:37

Bass – Reggie Workman
Drums – Alvin Queen
Piano – John Hicks
Trumpet, Flugelhorn, Producer – Charles Tolliver

Recorded at the Loosdrecht Jazz Festival, Holland (The Netherlands), 9th August 1972 by courtesy of Joop de Roo, N.O.S. Radio, Hilversum.

This concert opens with an eerie 11 minute blitzkrieg. The savvy European audience isn't afraid though. "Grand Max" is a tribute to Tolliver's former boss, drumming kingpin Max Roach. It reminds me somewhat of The Max Roach Trio - Featuring The Legendary Hasaan except at break-neck speed and lead by a trumpet. Drummer Alvin Green walks a fine line between the styles of Max Roach and Elvin Jones. It's quite interesting to hear.

Somehow "Truth" made me think of The Blade Runner for the first few minutes. Charles Tolliver has nice vibrato in his somber playing. I can picture a washed-up old cop walking in the rain to this song but the middle third of the song ruins the mood completely.

I read the title for the third piece and knew there was a good chance I would be in for some typical "spiritual" Jazz with jingling noise. The jingling is there alright. It engulfs a pounding bass solo by Reggie Workman for three minutes and then Charles Tolliver joins in on the action. "Prayer For Peace" becomes something along the lines of an energy charged Joe Henderson tune like "El Barrio" from Inner Urge. Tolliver certainly uses some of Henderson's tenor sax phrasing.

For 16 minutes Tolliver's quartet tries to emulate John Coltrane's Elvin Jones/McCoy Tyner/Jimmy Garrisson quartet in tribute to the recently deceased Coltrane. The only person who seems to be having trouble in their counterpart's role is pianist John Hicks. The sweat must have been coming out of every pore of his body trying to match Tyner's inhumanly flowing fingers. As Coltrane's group did too, Tolliver gets into Rock 'n Roll boisterousness. If you own a copy of Coltrane Live at Birdland and enjoy it you will assuredly love Grand Max.

After that the last track is redundant, especially since it has little to do with the feel of the rest of the concert. For simplicity sake consider it a mix of Horace Silver's and Lee Morgan's music. It's happy. It's long. It doesn't fit.

Charles Tolliver / Music Inc. - 1973 - Live At Slugs Volume II

Charles Tolliver / Music Inc.

1973

Live At Slugs Volume II

01. Spanning 8:30
02. Wilpan's 10:37
03. Our Second Father (Dedicated To The Memory Of John Coltrane) 13:26

Bass – Cecil McBee
Drums – Jimmy Hopps
Piano – Stanley Cowell
Trumpets – Charles Tolliver

Recorded: May 1, 1970

The second volume of this wonderful concert is my favorite by a hair. Charles Tolliver's music from the 70s displays the influence that working with Andrew Hill had on him. Hill's music often has a great groove no matter how odd it gets. The first and last songs of Volume 1 had longer build-ups. "Spanning" gets moving more quickly, sounding like a cross of John Coltrane's band from Coltrane Live at Birdland and Yusef Lateef's group from Live at Pep's, especially the more out-there tunes from the Lateef concert. Jimmy Hopps really, really reminds me of Lateef's drummer, James Black, also comparable to Elvin Jones but so much wackier. The middle tune from Volume 1 of Live at Slugs' slowed things down. This disc's center, "Wilpan's", kicks things up a notch with exuberance. "Our Second Father" is a tribute to John Coltrane which can also be heard on Grand Max. The Live at Slugs' take is wwwwwwwwwwway more hectic, like they had to go pee. It's exciting but my opinion is slightly tarnished by the later and more refined version of it.

Owning both this disc and Live at Slugs', Volume 1 is essential for hardcore Jazz fans. For similar music from the same period you don't have to look too far. Another trumpeter named Woody Shaw was making music with a similar energetic and expansive feeling. Stepping Stones: Live at the Village Vanguard is well worth a listen.

Charles Tolliver / Music Inc. - 1972 - Live At Slugs Volume I

Charles Tolliver / Music Inc.

1972

Live At Slugs Volume I

01. Drought 9:04
02. Felicite 8:05
03. Orientale 17:32

Bass – Cecil McBee
Drums – Jimmy Hopps
Piano – Stanley Cowell
Trumpet – Charles Tolliver

Recorded: May 1, 1970

Strata East recordings are quite difficult to acquire, which is unfortunate considering their high quality. Charles Tolliver was one of the great trumpeters to emerge during the late '60s yet has always been vastly underrated. on this quartet set with pianist Stanley Cowell, bassist Cecil McBee and drummer Jimmy Hopps, Tolliver has a real chance to stretch out. The 17-minute "Orientale" is particularly memorable. The music straddles the boundary between advanced hard bop and the avant-garde and rewards repeated listenings.

Charles Tolliver is my all time favourite trumpet player in jazz. He is simply awesome has a full brassy tone and perfect technique yet is almost unheard of except amongst devoted jazz fans. His name crops up on a number of LP's as a sideman but it was with his own ensemble, Music Inc. that he really shines. Music Inc. were group set up by Tolliver and pianist Stanley Cowell to preserve acoustic jazz traditions in the seventies and as a flagship act for their own new label Strata East. The Live at Slugs' date was spread over two volumes. Volume 1 and Volume 2 features per three tracks, each penned by different members of the group.

Where have you gone, Charles Tolliver? There was such promise in the concept of Music Inc., and in Strata East, but evidently the music world's attention was elsewhere and this tremendous live set was probably heard by only a few hundred sets of ears. On the back of the record sleeve, Tolliver undersigned his mission statement: "Music Inc. was created out of the desire to assemble men able to see the necessity for survival of a heritage and an Art in the hopes that the sacrifices and high level of communication between them will eventually reach every soul." And he isn't kidding. You won't find a much higher level of communication than he, Cecil McBee, Stanley Cowell, and Jimmy Hopps engaged in on May 1, 1970 at Slugs' in New York City. This was much more than an attempt to merely 'preserve acoustic jazz' as in the stilted Marsalis vein. This was an attempt to preserve a measure of authenticity while maintaining the notion of forward-thinking, present-tense improvised music. They deserved a greater response than the lukewarm, sparse applause they received that night, and continue to deserve a far more cognizant audience for their efforts.

Through its duration, the music on Live at Slugs' is often riveting and incessantly compelling. Hopps is a great to me in this performance, but the other three players featured here are some of the all-time underrated presences in the jazz pantheon, and they play nothing short of masterfully. Always a presence on his recordings, Tolliver demonstrates tremendous range, flair, and command as a trumpeter and leader. Had he not come along at a time when pure jazz was falling out of favor, I have to believe his name (along with Woody Shaw's) would be every bit as prolific as Freddie Hubbard's or Lee Morgan's; the same holds for the always brilliant and expressive McBee on bass.

Music Inc. - 1972 - Impact

Music Inc / Charles Tolliver

1972

Impact - Recorded Live at the Domicile

01. Impact 7:58
02. Brilliant Circles 15:48
03. Truth 9:06
04. Prayer For Peace 15:56

CD Bonus:
05. Absecretions 11:22
06. Our Second Father 13:43

Bass – Ron Mathewson
Drums – Alvin Queen
Flugelhorn – Charles Tolliver
Piano – Stanley Cowell

Recorded live at the Domicile, Munich, Germany on March 23, 1972.

The sound is very clean and has a warmth,which is sometimes lacking in live recordings and/or through the remastering process. This disc features Charles Tolliver -flugelhorn,Stanley Cowell-piano,Ron Mathewson-bass,and Alvin Queen-drums.

Anyone with more than a passing interest in jazz will know all the above players. All of them have played with both many known and unknown musicians/groups for many years. This particular recording is taken from a live concert in Germany,in 1972. Don't let the date fool you into thinking that this is "old"jazz-not worth hearing. This recording could sit alongside some of the more forward thinking releases on Blue Note Records,or any other labels you might happen to think of. Right now I have to say that I feel it's a shame that music of this caliber is only truly appreciated,by and large,in Europe. For this is some excellent post be-bop played at it's finest.

Both the bassist and drummer hold things together and give these tunes a real grounding,while at the same time they never lose that feeling of swing so important to this type of music. Tolliver's playing is always right on the mark. Never cluttering up his sound with to many notes,he leaves just enough space between the notes so that the music breathes and seems to come alive. Likewise Cowell-his playing,no matter if he's filling in spaces or is soloing,is always of the highest caliber.

After a short introduction of the players,the first track gets off to a rousing start and doesn't really let up. The same could be said for the second track. On the third track the entire group slows way down for some beautiful ensemble playing,which gives way to some fine solo work by Cowell and Tolliver. On this track,like others,Mathewson's bass playing is very sensitive and fits in the pocket very well indeed. The drummer knows when to hold back and just keep things moving along without calling attention to himself. The fourth track has some intense playing alongside some quieter passages. This track really feels like this group has been playing together(whether true or not) for a long while. The weaving of instruments,the ebb and flow of sound,all give this track a real identity. This edition of this album contains two previously unreleased tracks,for an extra twenty-five minutes of music. Track five starts out with a bit of a "soul-jazz" feel to it. It's different than the previous tracks,but gives a broader view of these fine musicians,and is still in the post be-bop mode. Tolliver is in fine form here,as is Cowell. Both play over and around each other,and is a nice change of pace. The last track starts out with all four players,and then gives way to Tolliver's horn. There is a drum solo shortly into this track,and not being a fan of such,I will let the individual listener make up his own mind. Queen is a fine drummer,but it's still a drum solo.

For continuity,it's obvious why the two bonus tracks were not originally released. The first four tracks are "of a piece" and the overall mood is changed somewhat by the inclusion of these two unreleased tracks. On this last track after approximately six minutes,the rest of the group comes in with some very fast intense playing. This track seems to fit in better with the originally released sides-after the drum solo. Queen's intense playing is all over this track,even when Tolliver is soloing. It feels like this might be the final track to be played(and recorded) on this set,because of it's intensity. Indeed,after the track ends the announcer comes on to let people know that the group will be back on the bandstand shortly. This recording is not widely known and that's a real crime. This should be in the library of anyone who enjoys straight ahead jazz.

Music Inc. - 1971 - Music Inc.

Music Inc.

1971

Music Inc.

01. Ruthie's Heart 6:12
02. Brilliant Circles 4:48
03. Abscretions 6:58
04. Household Of Saud 6:38
05. On The Nile 9:48
06. Departure 5:00

Bass – Cecil McBee
Drums – Jimmy Hopps
Flute – Bobby Brown , Clifford Jordan, Jimmy Heath, Wilbur Brown
Piano – Stanley Cowell
Reeds – Bobby Brown, Clifford Jordan, Jimmy Heath, Wilbur Brown
Trombone – Curtis Fuller, Dick Griffin, Garnett Brown, John Gordon
Trumpet – Charles Tolliver, Danny Moore, Larry Greenwich, Richard Williams, Virgil Jones
Tuba, Saxophone [Baritone] – Howard Johnson

Recorded November 11, 1970.

First formed in the late 1960s, Music Inc. makes their debut in Dizzy's for the Coca-Cola Generations In Jazz Festival. It will be just one of the many iterations the group has seen over the years.

The story behind this group stretches back to 1969. Tolliver—having established himself as an in-demand sideman on sessions for legends including Jackie McLean, Andrew Hill, and Max Roach—formed a new group called Music Inc. with pianist Stanley Cowell, bassist Steve Novosel, and drummer Jimmy Hopps. The group played a series of overseas concerts before bassist Jimmy McBee took over from Novosel.

For the group's first recording, Tolliver fleshed out the core quartet with a full big band that featured trumpeters Richard Williams and Virgil Jones; reedists Jimmy Heath, Clifford Jordan, and Howard Jordan; and trombonists Garnett Brown and Curtis Fuller. The album—released in 1971 by Strata East, a label Tolliver had recently founded with Cowell—boasted hard-hitting, harmonically advanced arrangements from Tolliver.

The quartet went on to record a number of other albums, including live sessions at the infamous (and now-defunct) East Village venue Slugs'. The group continued to tour in various iterations through the 1970s and into the 80s and 90s and featured an ever-changing line-up; members include pianist John Hicks, bassists Reggie Workman and Clint Houston, and drummers Alvin Queen and Clifford Barbaro.

For me this is the pick of all the Charles Tolliver Music Inc LP's. Recorded in the same year as the Slugs' live album it is a very different album.It features a big band composed entirely of brass backing the usual quartet and a look at some of the names present makes for impressive reading, Clifford Jordan, Curtis Fuller, Richard Williams and Jimmy Heath to name a few. The dynamics of having a big band behind you alters the music massively and it makes for a joyous record that leaps from the speakers as the band highlight and add to the phrases that the quartet play while letting the solos proceed unhindered. All tracks are either Cowell or Tolliver originals with the opener Ruthie's Heart being a real standout and one of y best loved jazz tunes ever.

Charles Tolliver - 1969 - The Ringer

Charles Tolliver / Music Inc. 

1969

The Ringer

01. Plight 7:09
02. On The Nile 12:31
03. The Ringer 5:46
04. Mother Wit 8:46
05. Spur 5:02

Charles Tolliver: trumpet
Stanley Cowell: piano
Steve Novosel: bass
Jimmy Hopps: drums

Recorded at Polydor Studios, London, 2nd June 1969.

Dizzy Gillespie, when asked in a Downbeat magazine interview with Herb Nolan, "what trumpet players do you hear today whom you like", Dizzy's reply, "Charles Tolliver - I like him". Charles Tolliver, entirely self-taught, is a remarkable talent who has gained an outstanding reputation as a trumpetist, bandleader, composer, arranger, and educator. Born in Jacksonville, Florida in 1942, his musical career began at the age of 8 when his beloved grandmother, Lela, presented him with his first instrument, a cornet, and the inspiration to learn.

After a few years of college majoring in pharmacy at Howard University, and formulating his trumpet style, Charles began his professional career with the saxophone giant Jackie Mclean. Making his recording debut with McLean on Blue Note Records in 1964, Charles has since recorded and/or performed with such renowned artists as Roy Haynes, Hank Mobley, Willie Bobo, Horace Silver, McCoy Tyner, Sonny Rollins, Booker Ervin, The Gerald Wilson Orchestra, Oliver Nelson, Andrew Hill, Louis Hayes, Roy Ayers, Art Blakey & the Jazz Messengers, and Max Roach.

In 1968 Charles Tolliver was voted as the Downbeat Critic's Choice for the Trumpet category. In 1969 he formed the quartet Music Inc which has become internationally respected for its innovative approach. Charles and his Music Inc, has toured in North and South America, Europe, Scandinavia, and Japan performing at festivals, concerts, radio and television stations.

Charles Tolliver is a brilliant player, capable of handling any tempo or mood. He has perfected an extremely individual and distinctive sound which clearly sets him apart from other trumpet players today. Characterized by a strong sense of tradition, Charles's playing is noted for its brilliance, inventiveness, melodic warmth and even its poignancy. His compositions are inventive, and display masterful writing ability. It is no small wonder that Charles Tolliver has earned the reputation as one of "the" preeminent trumpeters in jazz.

What have the critics said?

"The trumpet is a brass instrument that leans toward a hard sound and staccato phrasing. Yet Tolliver is the quintessance of fluidity.... a trumpeter of such flow, tone, control, lyricism and creativity is, by definition, a major musician."

Michael Cuscuna

"Tolliver's horn style is possessed of a melodic warmth and compactness of expression shared by few other trumpeters"

Ray Townley/DOWNBEAT

"...At Ronnie Scott's, in London, last week I heard a trumpet player who played melodic, lyrical music that filled the heart with joy rather than angst and anger."

Karl Dallas/MELODY MAKER

"...While having a rich, full sound, Music Inc. Provides a great deal of both energy and contrast and avoids the loud, stupid excesses of some current groups..."

CODA/Canada's Jazz Magazine

"it's been said that trumpeter Charles Tolliver was singular among young jazz musicians in his determination to keep his art free of the anarchy associated with a lot of the early so-called free jazz. Certainly he's unique among new trumpeters in this regard."

Hollie West/THE WASHINGTON POST

"of all the trumpeters to come to prominence in the 60's. Charles Tolliver was perhaps the most sensitive to the necessity of swinging.."

Ira Gitler/THE ENCYCLOPEDIA OF JAZZ IN THE 70s

This is the Charles Tolliver record to get, although it may be hard to find. The masterful trumpeter, in a quartet with pianist Stanley Cowell, bassist Steve Novosel, and drummer Jimmy Hopps, plays five of his strongest compositions. Highlights include the powerful "On the Nile," "The Ringer," and "Spur," but each of the numbers has its memorable moments. Tolliver is heard at the peak of his creative powers; it is strange that he never received the fame and recognition that he deserved.

Exceptional post-bop showing Tolliver's ability to lead a quartet

Trumpeter Charles Tolliver began his career with some excellent sideman appearances on Blue Note albums in the mid 60's (with the likes of Jackie McLean, Horace Silver, and Andrew Hill), but began recording as a leader of his own quartet in the late 60's. "The Ringer" is his second recording as a leader and was released in 1969 for the British Polydor label. Joining Tolliver in the quartet are pianist Stanley Cowell, bassist Steve Novosel, and drummer Jimmy Hopps. The five compositions were all composed by Tolliver.

Tolliver has been called "the Coltrane of the trumpet," and that description seems to fit the music on this record pretty well. The opening track, "Plight" is a fast, modal swinger with a loose vamp-like feel. The quartet definitely seems influenced by the classic Coltrane quartet, especially Cowell who sticks mostly to quartal voicings when comping. Tolliver has no trouble leading the ensemble through extended solos and throughout the album his bright, clear tone is at the forefront of the music. It's hard to find much fault with his playing; his solos are full of deeply melodic lines, but he breaks them up with bursts of dramatic abstraction, using repeated notes and occasionally extended techniques for effect. The rhythm section plays responsively, adding harmonic and rhythmic tension to match Tolliver's ideas, occasionally obscuring, but never moving too far away from the groove of the tune.

Cowell also delivers some nice solo work, easily slipping in and out of the harmony with clever melodic playing, but also able to build rhythmic tension with excellent chordal playing. As with Tolliver, the rhythm section supports his every move with flexible, but ultimately swinging responses. Though he often sticks to Tyner-esque modal vocings behind Tolliver, he delves into more interesting voicings in "On the Nile," another modal tune, but this time with a Phrygian tinge that adds a darker edge to the tune.

The title track opens the B side with one of the more memorable tunes on the record. "The Ringer" has a simple, funky melody that relies on the rhythm section's energetic playing to give the tune it's palpable energy. Tolliver manages to bump the energy level up several notches in his exciting and extroverted solo, and Cowell also gives a spirited statement. "Mother Wit" is a slower tune and focuses on Tolliver's lyrical abilities and Cowell's harmonic sophistication more than any of the other tunes. The spacious nature of the tune also allows for some excellent, but subtle bass work from Novosel as the tune moves into a deep medium swing. The closing track "Spur" is a fairly standard 12 bar blues, and though it's the least interesting composition on the album, the band takes a creative harmonic approach and manages to do some pretty interesting things within the context of the blues form.

This record is a great example of late 60's post-bop and the trumpet quartet is a somewhat rare ensemble for the style, which typically features a saxophone in the front line as well. However, Tolliver's compelling playing and the responsive accompaniment of the rhythm section proves that no saxophone is necessary here. This album makes for a great introduction to Tolliver's playing and will leave little doubt in most listeners' minds why Tolliver has been labeled the "Coltrane of the trumpet."

Charles Tolliver - 1968 - Charles Tolliver And His All Stars

Charles Tolliver And His All Stars

1968

Charles Tolliver And His All Stars

01. Earl's World 4:23
02. Peace With Myself 9:37
03. Right Now 5:47
04. Household Of Saud 6:06
05. Lil's Paradise 7:05
06. Paper Man 6:11

Alto Saxophone – Gary Bartz (tracks: B1 to B3)
Bass – Ron Carter
Drums – Joe Chambers
Piano – Herbie Hancock
Trumpet – Charles Tolliver

Recorded at Town Sound Studios, Englewood, New Jersey 2nd July 1968
Reissued in 1975 as Paper Man

Trumpeter Charles Tolliver is one of those musicians that frequently gets overlooked by writers and listeners. I think of Tolliver's trumpet playing as smack dab in the middle of Freddie Hubbard and Woody Shaw; he has wonderful vocabulary in his playing, and a lot of passion(Hubbard), but also a very clean articulation and technique, and also logic in his solos(Shaw). Above all, he is a very musical player, and at times, I liken him to saxophonist Wayne Shorter, who improvises like a composer. And Tolliver is a prolific composer. He is also a pioneer in the music business, if you consider that he and Stanley Cowell were some of the first jazz artists to start their own label in the 70's(Strata East).

Whenever people ask me my top 10 favorite jazz albums, Charles Tolliver's Paper Man is always on that list. I first heard it when I was in college, and I'm still not tired of it. It's one of those magical lineups that is in some ways expected, but in this case, produced something extraordinary. Charles Tolliver is well featured and well recorded on trumpet, and all the compositions are from his pen. The one and only Herbie Hancock plays a piano which, for my ears, sounds almost like an upright at times, and perhaps not a well maintained one. Whatever the case, it's relevant for no more than a split second, because Hancock's playing seems extra inspired throughout the session. The great Ron Carter plays some rhythmic and harmonic ideas that are downright shocking. And the amazing Joe Chambers adds a superbly sensitive rhythmic foundation with his supple drumming. My former employer Gary Bartz appears on three tracks and is in great form as usual.

If you have Paper Man in your collection, I hope the following writing will inspire you to dig it out and listen along. If you don't have it, it's really hard to find. ( It was also released as Charles Tolliver and his All Stars on the Black Lion label.) For some weird reason, this masterpiece is not available on Itunes. What a shame!

The first track, "Earl's World", is a bold opening statement, a combination of heavy and light all at once. The tune is half 12/8 riff, half medium swing. I love tunes that get right to the point, and this one does. And it's a great vehicle for solos. Tolliver comes out with powerful ideas, and his solo is perfectly shaped, driven by the enthusiastic comping of Hancock and Chambers. Hancock's solo begins introspectively, with slick interpolations of 12/8, shifting into some ultra-slick metric modulations.

(One thing you'll notice about this recording is that the piano is one one side of the stereo image, and the bass is on the other. The trumpet and drums seems to be spread evenly. There is great clarity in the recording, and it only adds to the enjoyment of the interplay.)

Track Two, entitled "Peace With Myself", is a colorful waltz. Hancock's comping is extra-creative, and  and Carter share some humorous musical comments. It's amazing how strong the rhythm is on this track, and yet there is a lot of openess in the beat. At times, Chambers seems subdued, but when you realize how subtly musical his playing is, you just sit back and marvel at his tasteful musical reflexes.

Hancock ventures into 20th century impressionism, reminiscent of his work with Miles Davis. Hancock's approach to rhythm is so multi-layered. (Sometimes I almost laugh when I read something like "Jazz Rhythm is primarily eighth notes." Whomever takes that to heart would be highly confused by this Herbie Hancock solo.) Ron Carter brings us down to nothing while Hancock and Chambers sound as if they are faraway ghosts.

"Right Now", the third track, is a composition that originally appeared on a Jackie McLean recording(entitled Right Now.) I also recorded this tune on my third CD for the Steeplechase label back in the 90's. The form is basically a diminished scale line over an almost New Orleans type of syncopated rhythm. The bridge is a release into Bud Powell-like Bebop. This tension and release built into the structure makes it endlessly fun to improvise over. The melody statement in Tolliver's hands has a bold clarion call , like a call-to-arms, or maybe in this case, a call-to-play-some-jazz. Hancock's solo, combined with Carter's disruptively inventive hemiolas, and Chamber's perfectly swinging beat, is a thrill ride. Carter, quite a sober man personally, is almost comical in his comping here; at times, he almost sounds like he's in another room, it's that adventurous. This conflict continues on Tolliver's solo, building into a short but sweet Chambers drum solo. And the battle continues all the way to the vamp out.

"Household of Saud" is a song dedicated to pianist McCoy Tyner, and this fourth track is where Gary Bartz makes this a quintet. This is one of my all-time favorite tracks; the melody is almost a Tyner lick harmonized in 4ths and made into a composition. It's hard swinging and intense. Tolliver sounds strong. Bartz's solo has a nonchalance about it; he's a master of sounding relaxed over intense rhythm sections.

"Lil's Paradise" is a rather inventive tune, very expansive. It uses long pedal point sections over a relaxed jazz bossa type groove. Again, the musical teamwork is great. Bartz takes a lyrically beautiful solo.

The title track, "Paper Man," is one of those sort of bluesy boogaloo tunes with a catchy riff. It's a great way to end the album. I'm listening to this and again wondering why this album is not widely available. If anybody finds a link or something, please let me know. Meanwhile, here is a link to Mr. Tolliver's website. http://charlestolliver.com/

Doug Carn - 1972 - Spirit of the New Land

Doug Carn

1972

Spirit of the New Land

01. Dwell Like A Ghost 1:35
02. My Spirit 10:00
03. Arise And Shine 9:40
04. Blue In Green 5:24
05. Trance Dance 8:39
06. Search For The New Land 11:56
07. New Moon 5:25

Drums – Al Mouzon
Flugelhorn – Charles Tolliver
Leader, Piano, Electric Piano, Organ, Lyrics By – Doug Carn
Tenor Saxophone, Soprano Saxophone, Bass Clarinet, Flute, Flute [Reed] – George Harper
Trombone – Garnett Brown
Tuba – Earl McIntyre
Vocals – Jean Carne

Pianist Doug Carn's second BJ record, Spirit of the New Land, poignantly reflected the state of affairs in black America through explicit lyrics sung by his wife Jean and through the expert musicians' responses to life-altering societal developments in a hopeful time when the slogan Black Power carried real meaningi The album s flush with riveting modern jazz, which often leans toward the spiritually inclined music of the John Coltrane Quartet on the classic album My Favorite Things. With George Harper's flute in gracious agreement, Jean Carn draws beauty out of the Miles Davis ballad "Blue in Green.

First known to the Jazz world as the man who made lyric adaptations for famous instrumental Jazz tunes (such as John Coltrane's A Love Supreme, or Horace Silver's _Peace_; in fact, this album features a vocal version of the Miles Davis classic, Blue in Green), Doug Carn released several albums under his own name in the early seventies on the Black Jazz Records label, one of which is Spirit of the New Land. 

Carn plays Jazz organ and the Fender-Rhodes e-piano, and also acoustic piano in a rather McCoy-Tyner-ish way. The record is a document of the lively Jazz scene in the US in the early seventies. The revolutionary developments from the sixties found their way into a lot of the albums recorded then. Think of Herbie Hancock's Mwandishi albums, or Norman Connor's early albums for Buddha Records, and you get an idea of the kind of Jazz on this record. It's part post-Hard Bop, part Free Jazz, part the expression of a universal concern articulately manifested in the Civil rights movement. Those who were seriously involved were searching for new ways of expression. Thus, as far as the aspects of awareness were concerned, Jazz and Soul music were tangent to each other. Jean Carn, Doug's wife, who would have a solo career as a Soul singer later in the seventies, here sings in an uncompromising Jazz environment. Her vocal contributions are more part of the tunes' arrangements rather than the more familiar way where a singer is backed by a band. This is serious music featuring interesting arrangements and solo contributions from these musicians: Doug Carn, keyboards; Jean Carn, vocals; George Harper, soprano sax. , bass clarinet, flute; Charles Tolliver, flugelhorn; Garnett Brown, trombone, Earl Mc Intire, tuba; Henry Franklin, bass; Alphonze Mouzon, drums.