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Kérjen
árajánlatot! |
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| 1. | Rejoicin'
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| 2. | With Love
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| 3. | 'Round Midnight
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| 4. | Mournin' Variations
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| 5. | Right Now
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| 6. | Suspicion
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| 7. | Hit The Spot
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Jazz / Post-Bop; Hard Bop
Recorded: Jun 2-3, 2006
Trumpeter Charles Tolliver has yet to receive the recognition he deserves. After over 20 years of recording as a sideman on many classic Blue Note sessions (Jackie McLean's Action!, It's Time, and Jackknife; Andrew Hill's One for One and Dance with Death; and Horace Silver's Serenade to a Soul Sister), Tolliver makes his Blue Note Records debut as a leader on With Love, a superb document of his fiery big band, presenting his extraordinary charts and distinctive trumpet playing.
For the occasion, Tolliver recruited a pan-generational lineup of home-run hitter soloists, including pianists Stanley Cowell and Robert Glasper; saxophonists Billy Harper, Craig Handy, and Howard Johnson; trumpeter Keyon Harrold; a cohort of A-list section men; and bassist Cecil McBee and drummer Victor Lewis, all of whom draw on all their resources to articulate Tolliver's vision with a bravura performance. Blue Note proudly welcomes this legendary trumpeter to its roster of the finest in jazz since 1939.
For the occasion, Tolliver recruited a pan-generational lineup of home-run hitter soloists including pianists Stanley Cowell and Robert Glasper, saxophonists Billy Harper, Craig Handy, and Howard Johnson, trumpeter Keyon Harrold, and a cohort of A-list section men, Cecil McBee and Victor Lewis, all of whom draw on all their resources to articulate Tolliver's vision with a bravura performance.
From the opening refrain of "Rejoicin'," the up-tempo 3/4 waltz that launches the session, to the concluding drum hits on "Hit The Spot," Victor Lewis-in constant synch with bass giant Cecil McBee, a Tolliver bandstand companion since the '60s-propels the proceedings to perfection.
"I tailored the melody to give the drummer an opportunity to use all of the elements of jazz drumming," Tolliver says of the finale. "When he makes the fills, Victor quotes, in his own way, Art Blakey, Philly Joe, Max Roach, Roy Haynes, Elvin Jones and Kenny Clarke. He's an original, with an amazing ability to give you what you're looking for in his own way."
On "Rejoicin'," Tolliver does something similar with the language of bebop, crafting complex opening passages that reference Gil Fuller's futuristic arrangements for Dizzy Gillespie, before declaiming a spectacular, white-heat solo.
He finds fresh pathways through American Songbook forms on "With Love," underpinned by Lewis' ebullient 8/8 dance feel, and on an arrangement of Thelonious Monk's "Round Midnight," which Tolliver describes as "the absolute essential song of jazz, no matter how many branches it has come to since the early '40s."
Ditto on "Mournin' Variations," an adaptation of the James Weldon Johnson spiritual "Singin' Wid a Sword In Ma Han', Lord" commissioned by Max Roach in 1972, and first documented thirty years ago on Impact, on which Tolliver scored the plaintive spiritual beginning for string octet on the original recording. Here he assigns it to the woodwinds, before referencing the sword in the title with orchestra blasts, and commencing dissertations by the soloists-Harper on tenor saxophone; trombonist Stafford Hunter; Tolliver and Cowell-in a long metered blues format before the concluding prayer recitation by the woodwinds.
Almost forty years after McLean debuted "Right Now," Tolliver reworks the line, adding an introductory fanfare, ratcheting the tempo, and presenting a baritone saxophone solo by Howard Johnson. On "Suspicion," which was written in the '70s for a piano-less quartet, Tolliver draws on a rhythmic motif as the starting point. The soloists on this elaborated 2005 arrangement are Tolliver, his son, Ched, McBee and Glasper.
Throughout the proceedings, Tolliver plays with the energy of an 18-year-old and the accumulated wisdom of fifty years of high-level improvising. "I refuse to ever consider myself as less fresh and new than the first time I realized I could do this," Tolliver told DownBeat. "It's not in my psyche to back off from the kind of energy we bring to the plate every time, even if I'm eligible to collect my Social Security check. What we were doing in the '60s is still so alive and well that it's fresh and new whenever you work on it. Anything coming in at this point can't supplant that." |
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