Charles "Charlie" Rouse is best known for his decade as
a tenor saxophonist with Thelonious Monk from 1959 to 69 Transcending the role of a traditional sideman, Rouse developed a unique musical and personal relationship with Monk. The elements during the John Coltrane and Sonny Rollins eras of Monk groups are inarquable. But Route grasped Monk's idiosyncrasies and music in a distinctive manner that earned Monk's trust. musical
That trust ran its course after a long, prolific decade, a period so successful that Rouse's many significant accomplishments before and during were overshadowed.
After some post-Monk downtime, he was eager to make music but on his terms, not as a sideman for one of the most notorious and enigmatic figures in jazz. His vision embraced modern sounds, ditching the quartet format while avoiding pianists entirely and breaking even further with his past by calling himself Charles. All that was needed was the right label partner to back that union. A label prioritized artistry over commerce, encouraging artistic freedom in an industry engineered to prevent it.
Strata-East was the brainchild of trumpeter Charles Toliver and pianist Stanley Cowell. Taking influence from Detroit's Strata label, the Strata East label drew a line in the sand that other labels would not cross without invoking the wrath of their accounting departments. Strata East operated in an industry rife with corruption and institutionalized racism by establishing its own values within the marketplace. Sales potential was a secondary consideration, as Strata firmly believed that a commitment to artist independence would create more significant long-term value. They also sought to rebalance the books regarding contracts, giving artists control and a larger slice of the revenue pie vs. the "industry standard," which was stacked in favor of the label. Tolliver and Cowell weren't doing it to be popular; their approach didn't make them many friends with the establishment, but they created a platform where records could be made that otherwise wouldn't ever be more than a dream. Records like Charles Rouse's, we are One Strata Cast gave the green light to Rouse's idea, and he entered a studio called The Warehouse.
in New York City's midtown in 1974 to realize his vision
"Two Is One" is a phrase originating from a classic abstract Monk-ism, nodding to Monk's holistic approach to jazz. Monk speak conveys a sense of unity and interconnectedness in music—a philosophical oneness between seemingly distinct elements. While Monk could be referring to rhythm, harmony, styles, or collaboration, "two is one" is foundational in Monk's belief system; eliminating boundaries between ideas, musical elements, and people is as vital to the message as the message itself. This idea took root and became muscle memory in the partnership between Monk and Rouse—they could almost finish each other's sentences. Rouse channeled Monk's "two is one" philosophy to name and guide the music making for his one and only Strata East album.
Two Is One is almost two albums in one. Side A is a crate digger's delight, opening with the funky '74 backbeat of "Bitchin'," composed by guitarist George Davis. The route delivers bluesy, soulful breaks over a groovy backbeat, displaying a willingness to develop themes and evolve a solo rather
than wing it. He employs several Monk-era tactics, including deliberate phrasing, returning to core themes, and making challenging ideas sound accessible.
The evolution of groove continues with a composition by Joe Chambers, "Hopscotch." Here, fusion bassist Stanley Clarke, shortly to be a household name via his work with Return to Forever, makes his first of three appearances on this album. Clarke locks in tightly with drummer David Lee, who percussionist Airto Moreira is egging on, adding an illusion of even more velocity to the already brisk pace of the tune. Rouse's soloing bravado conquers the ever-shifting rhythms effortlessly, using his powers of accessibility to make it infectious. The Beastie Boys thought so, foo; they sampled this track on their classic Check Your Head album.
Side A closes with the short-in-length but deep-in-groove"In a Funky Way," another George Davis composition that he underscores with stellar guitar work. Azzedin Weston's congas make it danceably urgent and irresistibly funky.
Side B leads off with the title track, co-written by Rouse and
pianist Roland Hanna. Trigger warning for those who struggled in math class: the polyrhythms and time signatures may provoke anxiety dreams. The liner notes tell us that the first section has the bass in 98 drums in 6/8, and cello and tenor in 3/4. The second section shifts to 7/8 for the rhythm section and 4/4 for cello and tenor. While it's not as over-the-top as some of the jazz-rock fusion experiments of the era, it's an impressive, extended composition, stretching over eleven minutes and incorporating solos by Rouse, Metzke, and a haunting electric cello from Calo Scott.
The album closes with a classic Strata fast spiritual jazz exploration that makes you want to put seatbelts on your sofa. The David Lee penned "In His Presence." Searching quests without boundaries, invoking the disciplined musicianship and rule-breaking attitudes of Monk and Trane with additional influences from Pharoah Sanders and Gary Bartz. Calo Scott's cello carries the deep resonance of terra firma as Rouse soars skywards, invoking a sense of freedom, liberation, and completion.
Fun fact: Two Is One was released 15 years after Rouse's debut and 15 years before his final album; it also marks the midpoint.
of his discography, with six albums before and after. It's the middle child in the Charlie Rouse catalog. Specific patterns have emerged in studies about the character traits of middle children. Creativity, independence, adaptability, rebelliousness, diplomacy, sensitivity to fairness, and a drive to prove themselves are classic middle child characteristics. Given Rouse's artistic mindset around Two is One, both the album and the artist might have a bit of middle-child syndrome. A 1950s US Census archive indicates Charlie Rouse had older and younger siblings, so perhaps there's something to this. Then again, record labels don't have siblings, and those same attributes apply to Strata-East, a label returning to active duty now in these troubled times when the world of music and the broader world need it most. -Syd Schwartz
Syd Schwartz is @jazzandcoffee on Instagram and the Jazz and Coffee Substack author. As a longtime major label marketing executive, he thought the digital revolution might cure him of overspending on vinyl. That worked out well too.
diegodobini2
Charles Rouse – Two Is One (1974)
Original Liner Notes:
https://youtu.be/MdhpLW4xlPw
Charles "Charlie" Rouse is best known for his decade as
a tenor saxophonist with Thelonious Monk from 1959 to 69 Transcending the role of a traditional sideman, Rouse developed a unique musical and personal relationship with Monk. The elements during the John Coltrane and Sonny Rollins eras of Monk groups are inarquable. But Route grasped Monk's idiosyncrasies and music in a distinctive manner that earned Monk's trust. musical
That trust ran its course after a long, prolific decade, a period so successful that Rouse's many significant accomplishments before and during were overshadowed.
After some post-Monk downtime, he was eager to make music but on his terms, not as a sideman for one of the most notorious and enigmatic figures in jazz. His vision embraced modern sounds, ditching the quartet format while avoiding pianists entirely and breaking even further with his past by calling himself Charles. All that was needed was the right label partner to back that union. A label prioritized artistry over commerce, encouraging artistic freedom in an industry engineered to prevent it.
Strata-East was the brainchild of trumpeter Charles Toliver and pianist Stanley Cowell. Taking influence from Detroit's Strata label, the Strata East label drew a line in the sand that other labels would not cross without invoking the wrath of their accounting departments. Strata East operated in an industry rife with corruption and institutionalized racism by establishing its own values within the marketplace. Sales potential was a secondary consideration, as Strata firmly believed that a commitment to artist independence would create more significant long-term value. They also sought to rebalance the books regarding contracts, giving artists control and a larger slice of the revenue pie vs. the "industry standard," which was stacked in favor of the label. Tolliver and Cowell weren't doing it to be popular; their approach didn't make them many friends with the establishment, but they created a platform where records could be made that otherwise wouldn't ever be more than a dream. Records like Charles Rouse's, we are One Strata Cast gave the green light to Rouse's idea, and he entered a studio called The Warehouse.
in New York City's midtown in 1974 to realize his vision
"Two Is One" is a phrase originating from a classic abstract Monk-ism, nodding to Monk's holistic approach to jazz. Monk speak conveys a sense of unity and interconnectedness in music—a philosophical oneness between seemingly distinct elements. While Monk could be referring to rhythm, harmony, styles, or collaboration, "two is one" is foundational in Monk's belief system; eliminating boundaries between ideas, musical elements, and people is as vital to the message as the message itself. This idea took root and became muscle memory in the partnership between Monk and Rouse—they could almost finish each other's sentences. Rouse channeled Monk's "two is one" philosophy to name and guide the music making for his one and only Strata East album.
Two Is One is almost two albums in one. Side A is a crate digger's delight, opening with the funky '74 backbeat of "Bitchin'," composed by guitarist George Davis. The route delivers bluesy, soulful breaks over a groovy backbeat, displaying a willingness to develop themes and evolve a solo rather
than wing it. He employs several Monk-era tactics, including deliberate phrasing, returning to core themes, and making challenging ideas sound accessible.
The evolution of groove continues with a composition by Joe Chambers, "Hopscotch." Here, fusion bassist Stanley Clarke, shortly to be a household name via his work with Return to Forever, makes his first of three appearances on this album. Clarke locks in tightly with drummer David Lee, who percussionist Airto Moreira is egging on, adding an illusion of even more velocity to the already brisk pace of the tune. Rouse's soloing bravado conquers the ever-shifting rhythms effortlessly, using his powers of accessibility to make it infectious. The Beastie Boys thought so, foo; they sampled this track on their classic Check Your Head album.
Side A closes with the short-in-length but deep-in-groove"In a Funky Way," another George Davis composition that he underscores with stellar guitar work. Azzedin Weston's congas make it danceably urgent and irresistibly funky.
Side B leads off with the title track, co-written by Rouse and
pianist Roland Hanna. Trigger warning for those who struggled in math class: the polyrhythms and time signatures may provoke anxiety dreams. The liner notes tell us that the first section has the bass in 98 drums in 6/8, and cello and tenor in 3/4. The second section shifts to 7/8 for the rhythm section and 4/4 for cello and tenor. While it's not as over-the-top as some of the jazz-rock fusion experiments of the era, it's an impressive, extended composition, stretching over eleven minutes and incorporating solos by Rouse, Metzke, and a haunting electric cello from Calo Scott.
The album closes with a classic Strata fast spiritual jazz exploration that makes you want to put seatbelts on your sofa. The David Lee penned "In His Presence." Searching quests without boundaries, invoking the disciplined musicianship and rule-breaking attitudes of Monk and Trane with additional influences from Pharoah Sanders and Gary Bartz. Calo Scott's cello carries the deep resonance of terra firma as Rouse soars skywards, invoking a sense of freedom, liberation, and completion.
Fun fact: Two Is One was released 15 years after Rouse's debut and 15 years before his final album; it also marks the midpoint.
of his discography, with six albums before and after. It's the middle child in the Charlie Rouse catalog. Specific patterns have emerged in studies about the character traits of middle children. Creativity, independence, adaptability, rebelliousness, diplomacy, sensitivity to fairness, and a drive to prove themselves are classic middle child characteristics. Given Rouse's artistic mindset around Two is One, both the album and the artist might have a bit of middle-child syndrome. A 1950s US Census archive indicates Charlie Rouse had older and younger siblings, so perhaps there's something to this. Then again, record labels don't have siblings, and those same attributes apply to Strata-East, a label returning to active duty now in these troubled times when the world of music and the broader world need it most.
-Syd Schwartz
Syd Schwartz is @jazzandcoffee on Instagram and the Jazz and Coffee Substack author. As a longtime major label marketing executive, he thought the digital revolution might cure him of overspending on vinyl. That worked out well too.
4 days ago (edited) | [YT] | 39