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     Max Roach

Real name: Maxwell Lemuel Roach
Born: Jan 10, 1924 in New Land, NC
Genres: Jazz
Styles: Avant-Garde Jazz, Hard Bop, Post-Bop, Bop
Instruments: Leader, Drums

In a profession star-crossed by early deaths - especially the bebop division - Max Roach at this writing is a shining survivor, one of the last living giants from the birth of bebop. He and Kenny Clarke instigated a revolution in jazz drumming that persists to this day; instead of the swing approach of spelling out the pulse with the bass drum, Roach shifted the emphasis to the ride cymbal. The result was a lighter, far more flexible texture, giving drummers more freedom to explore the possibilities of their drum kits and drop random "bombs" on the snare drum, while allowing bop virtuosos on the front lines to play at faster speeds. To this base, Roach added sterling qualities of his own - a ferocious drive, the ability to play a solo with a definite storyline, mixing up pitches and timbres, the deft use of silence, the dexterity to use the brushes as brilliantly as the sticks. He would use cymbals as gongs and play mesmerizing solos on the tom-toms, creating atmosphere as well as keeping the groove pushing forward.

But Roach didn't stop there, unlike other jazz pioneers who changed the world when they were young yet became set in their ways as they grew older. He has always had the curiosity and the willingness to grow as a musician and as a man, moving beyond bop into new compositional structures, unusual instrument lineups, unusual time signatures, atonality, music for Broadway musicals, television, film and the symphony hall, even working with a rapper well ahead of the jazz/hip-hop merger. An outspoken man, he became a fervent supporter of civil rights and racial equality, and that no doubt hurt his career at various junctures. At one point in his militant period in 1961, he disrupted a Miles Davis/Gil Evans concert in Carnegie Hall by marching to the edge of the stage holding a "Freedom Now" placard protesting the Africa Relief Foundation (for which the event was a benefit). When Miles' autobiography came out in 1989, Roach decried the book's inaccuracies, even going so far as to suggest that Miles was getting senile (despite the bumpy patches, their friendship nevertheless lasted until Miles' death). Roach has also received a MacArthur Foundation "genius" grant; as an articulate lecturer on jazz, he has taught at the Lenox School of Jazz and has been a professor of music at the University of Massachusetts, Amherst.

Roach's mother was a gospel singer, and that early immersion in the church had a lasting effect on his musical direction. He started playing the drums at age ten and undertook formal musical studies at the Manhattan School of Music. By the time he was 18, Roach was already immersed in proto-bop jam sessions at Minton's Playhouse and Monroe's Uptown House (where he was the house drummer) with Charlie Parker and Dizzy Gillespie, listening to Kenny Clarke and absorbing his influence. He made his recorded debut in 1943 with the progressive-minded Coleman Hawkins on the Apollo label, and played with Benny Carter's orchestra in California and Gillespie's quintet, as well as briefly with Duke Ellington in 1944. By 1945, Roach was red-hot in jazz circles, and he joined Parker's group that year for the first of a series of sporadic periods (1945, 1947-49, 1951-53). He participated in many of bop's seminal recordings (including Parker's incendiary "Ko-Ko" of 1945 and Miles' Birth of the Cool recordings of 1949-50), although he would not lead his own studio session until 1953. Even then, Roach would not be forced into a narrow box, for he also played with R&B/jazz star Louis Jordan and Dixieland's Henry "Red" Allen. With Charles Mingus, Roach co-founded Debut Records in 1952, though he was on the road too often to do much minding of the store. But Roach later said that Debut gave his career a springboard - and indeed, Debut released his first session as a leader, as well as the memorable Massey Hall concert in which Roach played with Parker, Gillespie, Mingus and Bud Powell.

In 1954, not long after recording with Howard Rumsey's Lighthouse All-Stars, Roach formed a quintet in Los Angeles to take out on the road at the suggestion of Gene Norman. This group included one Clifford Brown, who had been recommended to Roach by Dizzy several years before. The Brown/Roach Quintet made a stack of essential recordings for EmArcy that virtually defined the hard bop of the '50s, and though Brown's death in a 1956 auto accident absolutely devastated Roach, he kept the quintet together with Kenny Dorham and Sonny Rollins as the lead horns. For the remainder of the '50s, he would continue to use major talents like Booker Little, George Coleman and Hank Mobley in his small groups, dropping the piano entirely now and then.

Heavily affected by the burgeoning civil rights movement and his relationship with activist singer Abbey Lincoln (to whom he would be married from 1962 to 1970), Roach recorded the We Insist: Freedom Now Suite, a seven-part collaboration with Oscar Brown Jr., in 1960, and he would continue to write works that used solo and choral voices. Throughout the 1960s, Roach was a committed political crusader, and that, along with the general slump of interest in jazz, reduced his musical visibility, although he continued to record sporadically for Impulse! and Atlantic. In 1970, Roach took another flyer and formed M'Boom, a ten-piece percussion ensemble that borrowed languages and timbres from classical contemporary music and still performs now and then. Now interested in the avant-garde, Roach recorded with the likes of Anthony Braxton, Archie Shepp and Cecil Taylor in the late 1970s, though the results were mostly issued on erratically distributed foreign labels. In the 1980s, he began to experiment with a double quartet (with Odean Pope, Cecil Bridgewater and Tyrone Brown) - his regular jazz quartet combined with the partly improvising Uptown String Quartet (which includes his daughter Maxine on viola).

The late '80s and '90s found Roach unveiling special projects like a double-CD duo concert with a sadly faded Dizzy Gillespie, the much more successful To the Max!, which combined several of Roach's assorted groups and idioms, and a huge, uneven concerto for drum soloist and symphony orchestra, "Festival Journey." Thus, Roach has been outside the consciousness of most jazz historians since the 1960s, as he refuses to be bound and secured into some tight little niche of history - and that makes him a rare, unclassifiable, treasurable breed of cat.

- Richard S. Ginell (All Music Guide)

Ресурсы сети, связанные с исполнителем:
members.tripod.com/~hardbop/roach.html Biography
musicians.allaboutjazz.com/musician.php?id=10725 Biography & articles on 'All About Jazz'
en.wikipedia.org/wiki/Max_Roach About from 'wikipedia'
www.duke.edu/~kmg6/Roach/ Personal web pages. Biography, discography, links [mobile]
en.m.wikipedia.org/wiki/Max_Roach About from 'wapedia.mobi' [mobile]
Поиск видео (Video Search) :  

CD коллекции, связанные с исполнителем:
  как основной исполнитель ...
 Max Roach - 'Birth And Rebirth' - 1993, Black Saint
 Max Roach - 'It's Time' - 1962, Impulse!
 Max Roach - 'Percussion Discussion' - 1989, Chess
 Max Roach - 'Speak, Brother, Speak!' - 1962, Fntasy, Артель 'Восточный ветер'
  как основной соисполнитель ...
 Clifford Brown - 'Clifford Brown And Max Roach' - 1954, EmArcy
 Clifford Brown - 'Study In Brown' - 1956, EmArcy
 Conte Candoli - 'Jazz Structures' - 2005, Lone Hill
 Duke Ellington - 'Money Jungle' - 1962, Blue Note
 Buddy Rich - 'Rich Versus Roach' - 1959, Mercury
 Clark Terry - 'Friendship' - 2002, Columbia
  как соисполнитель ...
 Art Blakey - 'New Sounds' - 1948, Blue Note
 Clifford Brown - 'Joy Spring' - 2005, MCPS, Proper
 Benny Carter - 'Swinging The Blues' - History
 Sonny Clark - 'Sonny Clark Trio' - 1957, Blue Note
 Jimmy Cleveland - 'Introducing Jimmy Cleveland And His All Stars' - 1955, EmArcy
 Miles Davis - 'Ballads And Blues' - 1996, Blue Note
 Miles Davis - 'Blue Haze' - 1954, OJC, Prestige
 Miles Davis - 'The Complete Birth Of The Cool' - 1998, Blue Note
 Eric Dolphy - 'Candid Dolphy' - 1960, Candid
 Kenny Dorham - 'Jazz Contrasts' - 1957, Riverside, OJC
 Kenny Drew - 'Introducing The Kenny Drew Trio (1950-53)' - 1988, Blue Note
 Stan Getz - 'Plays' - 1953, Verve Forecast
 Dizzy Gillespie - 'Immortal Concerts: Toronto, Massey Hall, May 15, 1953' - 1996, Giants Of Jazz, Promo Sound
 Benny Golson - 'The Modern Touch' - 1957, Riverside, OJC
 Coleman Hawkins - '1946-1947' - 1999, Classics
 Coleman Hawkins - 'Super Session' - 2002, History
 Ernie Henry - 'Last Chorus' - 1991, OJC
 J.J. Johnson - 'The Trombone Master' - 1961, Columbia Jazz
 J.J. Johnson - 'Trombone By Three' - 1956, Prestige, OJC
 Thad Jones - 'The Fabulous: Thad Jones' - 1958, Debut Records, OJC
 Thad Jones - 'The Magnificent Thad Jones Vol.3' - 1955, Classic Records, Blue Note
 Abbey Lincoln - 'You Gotta Pay The Band' - 1991, Verve Forecast, Galactic
 Charles Mingus - 'Mingus At The Bohemia' - 1955, OJC
 Charles Mingus - 'Pre Bird' - 1960, Mercury
 Thelonious Monk - 'Ken Burns Jazz' - 2000, Columbia, Legacy
 Thelonious Monk - 'Monk & Rollins. Brilliant Corners' - 1956, Prestige, Riverside
 Thelonious Monk - 'The Best Of The Blue Note Years' - 1991, Blue Note
 Thelonious Monk - 'The Complete Blue Note Recordings' - 1994, Blue Note
 Thelonious Monk - 'The Complete Prestige Recordings' - 2000, Presige
 Thelonious Monk - 'Thelonious Monk And The Jazz Giant' - 1992, Fantasy
 Thelonious Monk - 'Thelonious Monk The Composer' - 1998, Giants Of Jazz
 Herbie Nichols - 'Complete Studio Master Takes (Herbie Nichols Trio)' - 2005, Lone Hill Jazz
 Oscar Pettiford - 'Oscar Rides Again Vol 2. Tricotism 1953-54' - 2008, Proper, Affinity
 Flip Phillips - 'Crazy 'Bout Flip, Vol. 1 1947-1949' - 2002, Ocium Records
 Flip Phillips - 'Keep On Flippin', Vol. 3 1952' - 2002, Ocium Records
 Sonny Rollins - 'Freedom Suite' - 1958, Riverside
 Sonny Rollins - 'Plus 4' - 1991, Prestige, Original Jazz Classics
 Sonny Rollins - 'Rollins Plays For Bird' - 1956, Prestige, OJC, Galactic
 Sonny Rollins - 'Saxophone Colossus' - 1956, Prestige,OJC, Galactic
 Sonny Rollins - 'The Freedom Suite' - 1957, Milestone
 The Lighthouse All-Stars - 'Howard Rumsey's Lighthouse All-Stars, Vol. 3' - 1955, OJC
 Various Artists - 'The Art Of Jazz' - 1999, Blue Note
 Dinah Washington - 'Complete Recordings With Clifford Brown' - 1954, Lone Hill Jazz
 Dinah Washington - 'Dinah Jams' - 1954, PSM, Galactic
 Dinah Washington - 'Dinah Washington Sings Bessie Smith' - 1958, EmArcy
 Dinah Washington - 'Dinah Washington: The Diva Series' - 2003, Verve
 Dinah Washington - 'Jazz 'Round Midnight: Dinah Washington' - 1993, Verve

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  Последние изменения в документе сделаны 30/05/2016 16:52:45

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