The star of this show wasn’t actually on stage: Max Roach (1924-2007), one of the great drummers who reinvented jazz drumming for the bebop era (and hence all that followed) and, as Kevin LeGendre pointed out in his introduction to the performance, an eminent member of the struggle for human rights in the 1960s, died seventeen years ago. Both aspects of his life were evident in this concert: drums and percussion were central to the music, and African American spirituals featured heavily.
Paying tribute to his legacy in his centenary year was Charles Tolliver, who played with Roach in the 1960s and 70s. In the first half, Tolliver lead a septet playing Roach’s music from the 1950s and 60s, particularly from his bands with Clifford Brown – perhaps the quintessential band in the transition from bebop to hard bop.
Filling the drum seat was Darrel Green – a role he fulfilled admirably. Joining Tolliver in the front line were Camille Thurman on tenor and vocals and tenor, and Tony Kofi on alto. Completing the rhythm section were pianist Danny Piers, bassist Larry Bartley and percussionist Cheikh Diop.
Thurman was a strong presence on saxophone, but she came into her own on the deeply spiritual vocals on Members Don’t Got Weary. This was an powerfully anthemic performance that reached back to Roach’s civil rights resistance with his wife, singer Abbey Lincoln, but was painfully resonant today, too.
Closing the first half was Garvey’s Ghost. This featured Diop in a percussion tour de force as he dueted with Green. Diop played a talking drum for much of the piece as well congas, the two drummers keeping up an intense dialogue, driving each other on: Green was also tremendous. The other musicians picked up a variety of percussion instruments – there were polyrhythms right across the stage. It seemed the audience was dancing out of the hall at the break.
Tolliver directed the big band assembled by Kofi from some of the UK’s finest musicians, such as Byron Wallen, Denys Baptiste and Jean Toussaint as well as some younger members, together with Kofi, Green, Thurman, Bartley and Piers. Much of the second half was taken up by the Drum Suite, which Tolliver had orchestrated for a performance in Montreux in 1971. Green naturally provided the link, soloing between the four sections. The closing passage was a moving return to the spirituals which had been such an important part of the concert with the words from Singin’Wid a Sword In My Hand, Thurman’s rich singing accompanied by Piers producing a deep organ sound redolent of church.
The big band encored with Tolliver’s number Grand Max, a fast, swinging bop tune which featured Tolliver on trumpet. It was an upbeat way to end to an evening dedicated to one of jazz’s greats.
First half – Septet: Charles Tolliver – Trumpet, Darrel Green – Drums, Camille Thurman – Tenor, Cheikh Diop – Percussion, Tony Kofi – Alto, Danny Piers – Piano, Larry Bartley – Double Bass
SET LIST: Powell’s Prances
Effi
I Get A Kick Out Of You
Always Love(d) You
Members Don’t Get Weary
Garvey’s Ghost
Second half – Big Band
Charles Tolliver – Director and Trumpet
Darrel Green – Drums
Camille Thurman – Tenor
Tony Kofi (Alto/Soprano Saxophone & MD), Donovan Haffner (Alto Saxophone/Clarinet), Jean Toussaint (Tenor Saxophone). Denys Baptiste (Tenor Saxophone/Clarinet), Charles Rothwell (Baritone Saxophone/ Bass Clarinet), Josh Short (Lead Trumpet), Byron Wallen (Trumpet), Dan Coulthurst (Trumpet), Alexander Polack (Trumpet), Matt Seddon (Trombone), Harry Brown (Trombone), James Wade Sired (Trombone), Richard Henry (Bass Trombone), Danny Piers (Piano) & Larry Bartley (Double Bass).
SET LIST: Suspicion
Drum Suite
Grand Max
