Tuesday, May 12, 2009
All About Jazz Biography
Born: January 10, 1925
Maxwell Lemuel Roach (born January 10, 1924) is a percussionist, drummer, and jazz composer. He has worked with many of the greatest jazz musicians, including Dizzy Gillespie, Charlie Parker, Duke Ellington, Charles Mingus and Sonny Rollins. He is widely considered to be one of the most important drummers in the history of jazz.
Roach was born in Newland, North Carolina, to Alphonse and Cressie Roach; his family moved to Brooklyn, New York when he was 4 years old. He grew up in a musical context, his mother being a gospel singer, and he started to play bugle in parade orchestras at a young age. At the age of 10, he was already playing drums in some gospel bands. He performed his first big-time gig in New York City at the age of sixteen, substituting for Sonny Greer in a performance with the Duke Ellington Orchestra.
In 1942, Roach started to go out in the jazz clubs of the 52nd Street and at 78th Street & Broadway for Georgie Jay's Taproom (playing with schoolmate Cecil Payne). He was one of the first drummers (along with Kenny Clarke) to play in the bebop style, and performed in bands led by Dizzy Gillespie, Charlie Parker, Miles Davis, Thelonious Monk, Coleman Hawkins, Bud Powell, and Miles Davis.
Roach played on many of Parker's most important records, including the Savoy 1945 session, a turning point in recorded jazz.
Two children, son Daryl and daughter Maxine, were born from his first marriage with Mildred Roach. In 1954 he met singer Barbara Jai (Johnson) and had another son, Raoul Jordu.
He continued to play as a freelance while studying composition at the Manhattan School of Music. He graduated in 1952.
During the period 1962-1970, Roach was married to the singer Abbey Lincoln, who had performed on several of Roach's albums. Twin daughters, Ayodele and Dara Rasheeda, were later born to Roach and his third wife, Janus Adams Roach.
Long involved in jazz education, in 1972 he joined the faculty of the University of Massachusetts at Amherst.
In the early 2000s, Roach became less active owing to the onset of hydrocephalus-related complications.
Renowned all throughout his performing life, Roach has won an extraordinary array of honors. He was one of the first to be given a MacArthur Foundation “genius” grant, cited as a Commander of the Order of Arts and Letters in France, twice awarded the French Grand Prix du Disque, elected to the International Percussive Society's Hall of Fame and the Downbeat Magazine Hall of Fame, awarded Harvard Jazz Master, celebrated by Aaron Davis Hall, given eight honorary doctorate degrees, including degrees awarded by the University of Bologna, Italy and Columbia University.
In 1952 Roach co-founded Debut Records with bassist Charles Mingus. This label released a record of a concert, billed and widely considered as “the greatest concert ever,” called Jazz at Massey Hall, featuring Charlie Parker, Dizzy Gillespie, Bud Powell, Mingus and Roach. Also released on this label was the groundbreaking bass-and-drum free improvisation, Percussion Discussion.
In 1954, he formed a quintet featuring trumpeter Clifford Brown, tenor saxophonist Harold Land, pianist Richie Powell (brother of Bud Powell), and bassist George Morrow, though Land left the following year and Sonny Rollins replaced him. The group was a prime example of the hard bop style also played by Art Blakey and Horace Silver. Tragically, this group was to be short-lived; Brown and Powell were killed in a car accident on the Pennsylvania Turnpike in June 1956. After Brown and Powell's deaths, Roach continued leading a similarly configured group, with Kenny Dorham (and later the short-lived Booker Little) on trumpet, George Coleman on tenor and pianist Ray Bryant. Roach expanded the standard form of hard-bop using 3/4 waltz rhythms and modality in 1957 with his album Jazz in 3/4 time. During this period, Roach recorded a series of other albums for the EmArcy label featuring the brothers Stanley and Tommy Turrentine.
In 1960 he composed the “We Insist! - Freedom Now” suite with lyrics by Oscar Brown Jr., after being invited to contribute to commemorations of the hundredth anniversary of Abraham Lincoln's Emancipation Proclamation. Using his musical abilities to comment on the African-American experience would be a significant part of his career. Unfortunately, Roach suffered from being blacklisted by the American recording industry for a period in the 1960s. In 1966 with his album Drums Unlimited (which includes several tracks that are entirely drums solos) he proved that drums can be a solo instrument able to play theme, variations, rhythmically cohesive phrases. He described his approach to music as “the creation of organized sound.”
Among the many important records Roach has made is the classic Money Jungle 1962, with Mingus and Duke Ellington. This is generally regarded as one of the very finest trio albums ever made.
During the 70s, Roach formed a unique musical organization--”M'Boom”--a percussion orchestra. Each member of this unit composed for it and performed on many percussion instruments. Personnel included Fred King, Joe Chambers, Warren Smith, Freddie Waits, Roy Brooks, Omar Clay, Ray Mantilla, Francisco Mora, and Eli Fountain.
Not content to expand on the musical territory he had already become known for, Roach spent the decades of the 80s and 90s continually finding new ways to express his musical expression and presentation.
In the early 80s, he began presenting entire concerts solo, proving that this multi-percussion instrument, in the hands of such a great master, could fulfill the demands of solo performance and be entirely satisfying to an audience. He created memorable compositions in these solo concerts; a solo record was released by Bay State, a Japanese label, just about impossible to obtain. One of these solo concerts is available on video, which also includes a filming of a recording date for Chattahoochee Red, featuring his working quartet, Odean Pope, Cecil Bridgewater and Calvin Hill.
He embarked on a series of duet recordings. Departing from the style of presentation he was best known for, most of the music on these recordings is free improvisation, created with the avant-garde musicians Cecil Taylor, Anthony Braxton, Archie Shepp, Abdullah Ibrahim and Connie Crothers. He created duets with other performers: a recorded duet with the oration by Martin Luther King, “I Have a Dream”; a duet with video artist Kit Fitzgerald, who improvised video imagery while Roach spontaneously created the music; a classic duet with his life-long friend and associate Dizzy Gillespie; a duet concert recording with Mal Waldron.
He wrote music for theater, such as plays written by Sam Shepard, presented at La Mama E.T.C. in New York City.
He found new contexts for presentation, creating unique musical ensembles. One of these groups was “The Double Quartet.” It featured his regular performing quartet, with personnel as above, except Tyrone Brown replacing Hill; this quartet joined with “The Uptown String Quartet,” led by his daughter Maxine Roach, featuring Diane Monroe, Lesa Terry and Eileen Folson.
Another ensemble was the “So What Brass Quintet,” a group comprised of five brass instrumentalists and Roach, no chordal instrumnent, no bass player. Much of the performance consisted of drums and horn duets. The ensemble consisted of two trumpets, trombone, French horn and tuba. Musicians included Cecil Bridgewater, Frank Gordon, Eddie Henderson, Steve Turre, Delfeayo Marsalis, Robert Stewart, Tony Underwood, Marshall Sealy, and Mark Taylor.
Roach presented his music with orchestras and gospel choruses. He performed a concerto with the Boston Symphony Orchestra. He wrote for and performed with the Walter White gospel choir and the John Motley Singers. Roach performed with dancers: the Alvin Aily Dance Company, the Dianne McIntyre Dance Company, the Bill T. Jones/Arnie Zane Dance Company.
In the early 80s, Roach surprised his fans by performing in a hip hop concert, featuring the artist-rapper Fab Five Freddy and the New York Break Dancers. He expressed the insight that there was a strong kinship between the outpouring of expression of these young black artists and the art he had pursued all his life.
During all these years, while he ventured into new territory during a lifetime of innovation, he kept his contact with his musical point of origin. His last recording, “Friendship”, was with trumpet master Clark Terry, the two long-standing friends in duet and quartet.