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Stylistically the label covered many bases: deep modal outings, post-bop, experimental free jazz and African/spiritual excursions. The Strata East label stands apart from others in the early 70s: more adventurous, uncompromising, charting its own course. Harry’s been busy doing The Time Warp again… It’s just a jump to the leftĪnd then a step to the right …1970 through to 1975.Ĭharles Tolliver – Montreux 1971 Clint Houston – Montreux1971 George Coleman -JazzExpo1970 Harold Vick – Montreux 1975 I can just about take big band, but only in small doses. But that is what motivated Tolliver, his own singular vision, being surrounded by instrumental power, with him as composer and arranger.
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The idea of a Lee Morgan Big Band or Freddie Hubbard Big Band, doesn’t make any sense, it’s a different kind of music. Lead instrumentalists generally like to play in a small ensemble, the dynamics of quartet or quintet, and not drowned out by fourteen other horn players. Tolliver was clearly drawn to arranging for a large ensemble, and returned to it whenever the opportunity arose, especially in his later years. Veering towards Hollywood Cinematic, you eventually accept them as just another of the varying textures with which Tolliver assembles his composition. Strings! Generally, I don’t like them (British understatement). The total decibel-output of all those instruments probably sounds a bit tame through a hi-fi, and you probably wouldn’t want all these musicians in the room with you, even if you could fit them in. It is not big-band in the sense of the big band genre – it is not especially melodic, rhythmic or swinging big band, it is.something else. Impact is big-band in that it has a lot of players: 14 horns, 8 strings, and a rhythm section.
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Each track operates in largely the same mode but alternating the players, and some tracks have more strings than others. Cinematic in scale, restless in pace, Tolliver’s compositions weave together bursts of raw power and repeating crescendos, which give way to a modal canvas for the soloists, queued up for take off after the boss has had his say. It reminds me of the saying attributed to Stalin, “Quantity has a Quality all of its own”. Tolliver must have rounded up every musician available in New York on this date, it is two three four or five of everything.
Winston Collymore, Noel Da Costa, Gayle Dixon, Noel Pointer, violin Julius Miller, Ashley Richardson, viola Akua Dixon Turre, Edith Wint Porter, cello Note: this is not Tolliver’s small-group “Impact” from 1972, but the very large ensemble Music Inc & Orchestra “Impact” from 1975.Ĭharles Tolliver, trumpet, flugelhorn Stanley Cowell, piano Cecil McBee, Clint Houston, Reggie Workman, bass Clifford Barbaro, drums Warren Smith, chimes, percussion Billy Parker, percussion Big Black, congas Ĭharles McPherson, alto saxophone James Spaulding, flute, alto saxophone George Coleman, tenor saxophone Harold Vick, flute, soprano saxophone, tenor saxophone Charles Davis, baritone saxophone Jon Faddis, Lorenzo Greenwich, Virgil Jones, Jimmy Owens, Richard Williams, trumpet Garnett Brown, John Gordon, Kiane Zawadi, trombone Jack Jeffers, bass trombone