Описание CD

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  Исполнитель(и) :
   Roach, Max  (Drums, Viola)
◄◄◄        ►►►

  Наименование CD :
   Speak, Brother, Speak!



Год издания : 1962

Компания звукозаписи : Fntasy, Артель 'Восточный ветер', (ru)

Музыкальный стиль : Post-Bop, Hard Bop

Время звучания : 45:50

Код CD : SI 1600

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Small Orchestra - Bop)      

This reissue CD of a live set originally put out on Debut has two very lengthy tracks (the 25-minute "Speak, Brother, Speak" and the 22 1/2 minute "A Variation") featuring solos by tenor saxophonist Clifford Jordan, pianist Mal Waldron, bassist Eddie Khan and drummer Max Roach (who wrote both of the pieces). The music is somewhere between hard bop and the avant-garde and the musicians really push each other, although the results are not quite essential. Clifford Jordan fans in particular will find this to be an interesting set.

- Scott Yanow (All Music Guide)

========= from the cover ==========

Max Roach is to modern jazz drumming what Jimmy Blanton was to the bass. It is never possible to fully assess the contribution of an artist like Max, because in addition to what he contributes directly, his influence is also passed on, in turn, by others whom he has inspired. When Max Roach has been in good form himself, as on this album, he provides an element of excitement to a group that is characteristically his own. This excitement is not only in execution but in stance and concept and it has a dramatic effect on the other players. For instance, I have never heard Cliff Jordan play as he plays on this album and I would not have recognized him from his other recorded work.

It is not only that Max plays drums with an almost orchestral feeling for shades of sound, for contrasts and for complexity. It is that the thing he does makes it almost impossible for others who are playing to remain unmoved themselves.

When this group played the Jazz Workshop in San Francisco, it was my misfortune to hear only part of two sets. Neither fragment prepared me for this album and I now sincerely regret not having persevered at listening. I should have braved the acoustics of the club. The music was worth it, as you will hear, and I was mistaken.

Not all of Max Roach's recorded work has had this feeling, or rather I should say I have not always gotten this feeling from Max's work. His solos, in any context, have always been intriguing because he thinks drums melodically and when he is successful at this, the solos become fascinating.

Music speaks beyond the prison of race, religion, or politics. The music produced by Nazi composers, or by composers acquiescing by silence to the German political system, was not and is not bad music because of that. Conversely, no music produced by any group, regardless of its moral purpose, regardless of the historical situation of that group and regardless of the moral lightness of that group is, per se, good or bad music. Music stands alone; once given to the world, it cannot be taken back.

In recent years, Max Roach has become, in addition to a powerful drummer, a powerful writer of tracts on the situation of black Americans. His assessment of the role of jazz (which was printed in Freedomways), and his other writings on jazz and black Americans printed in other Negro publications (but never, oddly enough, in the jazz magazines), has great value and should be studied by all who think deeply about this music and who feel its power.

But the most powerful message any musician carries is transmitted through the language of music itself, where the rhetoric of politics and race and the semantics of sociology have no effect. This is only to point out that music is really beyond words.

Max Roach is a rebel and a freedom fighter in music, which is why his contribution has been so important. That he is also a rebel and a freedom fighter in his personal life increases his importance but does not affect his music, no matter what one may think.

And Max Roach's music has in itself been a strong weapon for musical freedom and for abstract freedom as well.

At the first Monterey Jazz Festival, Max Roach electrified the crowd of thousands with his performance of a percussion suite by Pete Phillips (a Texan) with the Festival Symphony. It was something no one who heard will ever forget and all the more remarkable because it was performed while Max had a dislocated thumb on one hand.

This album, which gathers together into music the emotional turmoil and the high voltage feelings of the players, should prove to be a lasting contribution to the jazz world.

The Jazz Workshop, like most of the good jazz clubs, is nothing much physically. A small, noisy, grimy room with bad acoustics and its share of tourists. But like the good jazz rooms, its policy of letting the musicians alone produces good music. This culture consistently ignores its valuable artists, insists of placing them in the equivalent of super-markets to create their art, and relegates them to the status of entertainers. That they produce consistently such an artistically fine product is a tribute to their courage and dedication.

Max Roach, Cliff Jordan, Eddie Khan and Mal Waldron during their Jazz Workshop engagement once again showed how the best of jazz is greater than the sum of its parts, even when one of those parts is such a strikingly original musician as Max Roach.

Freedom for the individual musical artist within a discipline that is self imposed and structured to accentuate that freedom is the hallmark of creative jazz. This album is a good example of precisely that.

- Ralph J. Gleason

Motivation And Analysis

The music in this album was created to mirror the street rallies and meetings that exist today in the ghetto areas of the large cities in the USA, such as the Fillmore district in San Francisco, the South Side in Ghicago, and Harlem in New York, to mention a few.

At these street rallies, or meetings, the people of all walks life have an opportunity toexpress themselves vocally, on their impressions of the state of the nation as related to themselves, culturally, socially, economically and politically.

"Speak Brother, Speak" is based on a blues progression with a suspended interlude to introduce each soloist (speaker). The metre and tempo changes serve as subject material for the soloist (speaker).

"A Variation" - Each soloist "speaks" on the same theme. The solos are based on a minor tonality and the soloist does not have to adhere to any set number of bars. I should also add that the above motivation and analysis was exactly the musical blueprint from which Clifford Jordan, Mal Waldron and Eddie Khan had to work and that without their and inpaginative know how an extended work such as this would have been most difficult.

- Max Roach


  Соисполнители :

Clifford Jordan (Tenor Saxophone)
Eddie Kahn (Bass)
Mal Waldron (Piano)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Speak, Brother, Speak         0:25:11 Jordan / Khan / Roach / Waldron
   2 A Variation         0:20:39 Roach

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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Последние изменения в документе сделаны 19/10/2016 22:06:45

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