Max Roach

Drums · born 10 January 1924 died 16 August 2007

Click for Richard Cook Bio

Roach always had strong associations with black church music, his mother singing gospel and himself playing in church from an early age in North Carolina. He moved to New York in his teens and became the house drummer at Monroe's in 1942, inevitably falling in with the musicians working towards bebop. He joined Benny Carter's big band in 1944, but a year later was working with Parker and Gillespie on 52nd Street and in Dizzy's big band. He plays drums on most of Parker's important small-group sessions during 1947–9: he and Kenny Clarke had set down the primer for bop drumming, the pulse driven out from the ride cymbal, the 'bomb-dropping' bass-drum interpolations, the variations of rhythm and sound coming from the other parts of the kit. Roach was a more daring stylist than Clarke, less 'proper' in a way, and he was probably the figure who most inspired the likes of Roy Haynes to really think about their own approaches.

Roach continued working with Parker and Miles Davis while also studying composition in Manhattan School, and in 1952 he began an alliance with Charles Mingus which resulted in the formation of a record label, Debut. A year later he was over on the West Coast, where he formed a new band with Clifford Brown and Sonny Stitt, who was replaced first by Teddy Edwards and then by Harold Land. The Brown–Roach quintet began touring in 1954 and its reputation was enhanced by four brilliant records for Emarcy: Brown's creativity was surging towards a peak, Roach matched him, and Land and pianist Richie Powell played above themselves in such a sparkling context. Where Blakey's Jazz Messengers were setting down one kind of hard-bop blueprint, the Roach–Brown group suggested a less bluesy, more aristocratic kind of style. Land was replaced by Sonny Rollins in 1955, but the deaths of Brown and Richie Powell in a car accident the following June devastated Roach, although he re-formed a new band soon enough.

He did, in fact, continue to lead small bands of one sort or another from then until the early 90s. His first horn players after the dissolution of the Brown group were Kenny Dorham and Booker Little, Hank Mobley and George Coleman, and Julian Priester; Roach suffered badly from depression during this period and Priester remembers the leader punching him during a fraught club gig. The records became, if anything, even stronger and more challenging: Deeds Not Words (1958) and We Insist! Freedom Now Suite (1960) saw Roach opening up his music to the wider possibilities of studio work in the LP era, touching on freely paced structures and using barrier-nudging soloists like Little to bring a new immediacy to what he was doing. His then wife, Abbey Lincoln, performs on some of this music, and the politically aware Roach began using his work as a platform for cultural protest. Though the Debut venture had long since foundered, Roach and Mingus collaborated on an 'alternative' Newport festival in 1960, and a year later he stopped a Miles Davis concert at Carnegie Hall with a protest against the sponsoring African Research Foundation. As the decade wore on, though, Roach contented himself with letting his music do the talking. He recorded a largely solo album, Drums Unlimited, in 1966, which bridged his take on jazz tradition with an undogmatic approach to the way it could be opened into other areas of improvising. This led eventually to his all-percussion ensemble M'Boom, first established around 1970 and which continued into the 90s. He recorded comparatively infrequently in the 70s, for the most part leading a relatively conventional post-bop quintet, but in the 80s he was busier in the studios with both M'Boom and his own groups, and he also took to performing duos with some surprising collaborators – Archie Shepp and Cecil Taylor – where he lent regal authority and counterpoint to the free playing of his partners. The duo with Taylor has been convened on a number of occasions since, and there was also a concert duo recording with Dizzy Gillespie in 1989, a farewell to bebop from two of its originators. Roach's body of work has an invincible look to it: there is little or nothing which looks like a studio chore or a producer's folly. His playing, particularly as a soloist, has a composer's refinement and particularity, as well as a master drummer's accomplishment; and he should be remembered as a principal among the many small-group leaders of the past 50 years.

Biography from Richard Cook's Jazz Encyclopedia (2005).

If you'd like more information, check out The New Grove Dictionary of Jazz (2002) or The Biographical Encyclopedia of Jazz (2007), both of which are still in print.