The self-taught musical prodigy died Wednesday night at an undisclosed hospital in Manhattan, said Cem Kurosman, spokesman for Blue Note Records, one of Roach's labels. No additional details were available, he said Thursday.
Roach received his first musical break at age 16, filling in for three nights in 1940 when Ellington's drummer fell ill.
Roach's performance led him to the legendary Minton's Playhouse in Harlem, where he joined luminaries Charlie Parker and Dizzy Gillespie in the burgeoning bebop movement. In 1944, Roach joined Gillespie and Coleman Hawkins in one of the first bebop recording sessions.
What distinguished Roach from other drummers were his fast hands and ability to simultaneously maintain several rhythms. By layering different beats and varying the meter, Roach pushed jazz beyond the boundaries of standard 4/4 time. His dislocated beats helped define bebop.
Roach's innovative use of cymbals for melodic lines, and tom-toms and bass drums for accents, helped elevate the percussionist from mere timekeeper to featured performer - on a par with the trumpeter and saxophonist.
"One of the grand masters of our music," Gillespie once observed.
Max Roach, the bebop percussionist whose innovative playing style helped kickstart the modern jazz movement, died at a Manhattan hospital on Wednesday at age 83. He had been ill for several years.The jazz drumming legend who helped give birth to bebop dies at 83 after a long illness. Roach was a pivotal collaborator with countless jazz giants, ranging from Duke Ellington and Dizzy Gillespie to Miles Davis and Charlie Parker.
In a 1988 essay in The New York Times, Wynton Marsalis wrote of Roach: "All great instrumentalists have a superior quality of sound, and his is one of the marvels of contemporary music. ... The roundness and nobility of sound on the drums and the clarity and precision of the cymbals distinguishes Max Roach as a peerless master."
Throughout the jazz upheaval of the 1940s and '50s, Roach played bebop with the Charlie Parker Quintet and cool bop with the Miles Davis Capitol Orchestra. He joined trumpeter Clifford Brown in playing hard bop, a jazz form that maintained bebop's rhythmic drive while incorporating the blues and gospel.
In 1952, Roach and bassist-composer Charles Mingus founded Debut Records. Among the short-lived label's releases was a famed 1953 Toronto performance in Massey's Hall, featuring Roach, Mingus, Parker, Gillespie and pianist Bud Powell.
But by the mid-1950s, Roach had watched several of his friends - including Parker -die from heroin addiction. In 1956, Roach was further devastated when Brown died in a car accident.
After his own struggle with drugs and alcohol, Roach rebounded with the help of his first wife, singer Abbey Lincoln. Married in 1962, they divorced eight years later.
Roach re-emerged in the 1960s free jazz era with a new political consciousness. Albums like "We Insist! Max Roach's Freedom Now Suite" reflected his support of black activism.
Over the next decades, Roach expanded his repertoire and explored new challenges. He taught at the University of Massachusetts, traveled to Ghana in search of new music, and performed with groups from Japan and Cuba.
He also formed an all-percussion ensemble known as M'Boom, a quartet and a double quartet that included Roach's daughter Maxine Roach on viola.
Roach even worked with rapper Fab Five Freddy in the early 1980s. Ignoring critics, Roach insisted rap had a place on music's "boundless palette."
Roach, who in 1988 became the first jazz musician to receive a MacArthur Fellowship "genius award," said his curiosity reflected his sense of obligation to music. He was inducted into the Grammy Hall of Fame in 1995.
Max Roach was born in New Land, N.C., on Jan. 10, 1924. His family moved four years later to a Brooklyn apartment, where a player piano left by the previous tenants gave Roach his musical introduction.
Using player piano rolls of Jelly Roll Morton and Albert Ammons, Roach played along by putting his fingers on the keys and pedals as they rose and fell. But he was looking for another instrument to play when he began singing with the children's choir at the Concord Baptist Church.
Roach found a snare drum, and was hooked. His father gave the eighth-grader his first set of drums, and Roach was drumming professionally while still in high school.
He was survived by five children: sons Daryl and Raoul, and daughters Maxine, Ayl and Dara.
Max Roach, a founder of modern jazz who rewrote the rules of drumming in the 1940’s and spent the rest of his career breaking musical barriers and defying listeners’ expectations, died early today in Manhattan. He was 83.
Max Roach at the Bell Atlantic Jazz Festival at Columbia University in 2000.
Anthropology (Thriving on a Riff) by the Max Roach 4 (mp3)
His death was announced today by a spokesman for Blue Note records, on which he frequently appeared. No cause was given. Mr. Roach had been known to be ill for several years.
As a young man, Mr. Roach, a percussion virtuoso capable of playing at the most brutal tempos with subtlety as well as power, was among a small circle of adventurous musicians who brought about wholesale changesin jazz. He remained adventurous to the end.
Over the years he challenged both his audiences and himself by working not just with standard jazz instrumentation, and not just in traditional jazz venues, but in a wide variety of contexts, some of them well beyond the confines of jazz as that word is generally understood.
He led a “double quartet” consisting of his working group of trumpet, saxophone, bass and drums plus a string quartet. He led an ensemble consisting entirely of percussionists. He dueted with uncompromising avant-gardists like the pianist Cecil Taylor and the saxophonist Anthony Braxton. He performed unaccompanied. He wrote music for plays by Sam Shepard and dance pieces by Alvin Ailey. He collaborated with video artists, gospel choirs and hip-hop performers.
Mr. Roach explained his philosophy to The New York Times in 1990: “You can’t write the same book twice. Though I’ve been in historic musical situations, I can’t go back and do that again. And though I run into artistic crises, they keep my life interesting.”
He found himself in historic situations from the beginning of his career. He was still in his teens when he played drums with the alto saxophonist Charlie Parker, a pioneer of modern jazz, at a Harlem after-hours club in 1942. Within a few years, Mr. Roach was himself recognized as a pioneer in the development of the sophisticated new form of jazz that came to be known as bebop.
He was not the first drummer to play bebop — Kenny Clarke, 10 years his senior, is generally credited with that distinction — but he quickly established himself as both the most imaginative percussionist in modern jazz and the most influential.
In Mr. Roach’s hands, the drum kit became much more than a means of keeping time. He saw himself as a full-fledged member of the front line, not simply as a supporting player.
Layering rhythms on top of rhythms, he paid as much attention to a song’s melody as to its beat. He developed, as the jazz critic Burt Korall put it, “a highly responsive, contrapuntal style,” engaging his fellow musicians in an open-ended conversation while maintaining a rock-solid pulse. His approach “initially mystified and thoroughly challenged other drummers,” Mr. Korall wrote, but quickly earned the respect of his peers and established a new standard for the instrument.
Mr. Roach was an innovator in other ways. In the late 1950s, he led a group that was among thefirst in jazz to regularly perform pieces in waltz time and other unusual meters in addition to the conventional 4/4. In the early 1960s, he was among the first to use jazz to address racial and political issues, with works like the album-length “We Insist! Freedom Now Suite.”
In 1972, he became one of the first jazz musicians to teach full time at the college level when he was hired as a professor at the University of Massachusetts at Amherst. And in 1988, he became the first jazz musician to receive a so-called genius grant from the MacArthur Foundation.
Maxwell Roach was born on Jan. 10, 1924, in the small town of New Land, N.C., and grew up in the Bedford-Stuyvesant section of Brooklyn. He began studying piano at a neighborhood Baptist church when he was 8 and took up the drums a few years later.
Even before he graduated from Boys High School in 1942, savvy New York jazz musicians knew his name. As a teenager he worked briefly with Duke Ellington’s orchestra at the Paramount Theater and with Charlie Parker at Monroe’s Uptown House in Harlem, where he took part in jam sessions that helped lay the groundwork for bebop.
By the middle 1940’s, he had become a ubiquitous presence on the New York jazz scene, working in the 52nd Street nightclubs with Parker, the trumpeter Dizzy Gillespie and other leading modernists. Within a few years he had become equally ubiquitous on record, participating in such seminal recordings as Miles Davis’s “Birth of the Cool” sessions in 1949 and 1950.
He also found time to study composition at the Manhattan School of Music. He had planned to major in percussion, he later recalled in an interview, but changed his mind after a teacher told him his technique was incorrect. “The way he wanted me to play would have been fine if I’d been after a career in a symphony orchestra,” he said, “but it wouldn’t haveworked on 52nd Street.”
Mr. Roach made the transition from sideman to leader in 1954, when he and the young trumpet virtuoso Clifford Brown formed a quintet. That group, which specialized in a muscular and stripped-down version of bebop that came to be called hard bop, took the jazz world by storm. But it was short-lived.
- Max Roach, a Founder of Modern Jazz, Dies at 83
In June 1956, at the height of the Brown-Roach quintet’s success, Brown was killed in an automobile accident, along with Richie Powell, the group’s pianist, and Powell’s wife. The sudden loss of his friend and co-leader, Mr. Roach later recalled, plunged him into depression and heavy drinking from which it took him years to emerge.Skip to next paragraphRelatedTimes topics: Max Roach Additional information and past articles about the jazz musician. Anthropology (Thriving on a Riff) by the Max Roach 4 (mp3)
Nonetheless, he kept working. He honored his existing nightclub bookings with the two surviving members of his group, the saxophonist Sonny Rollins and the bassist George Morrow, before briefly taking time off and putting together a new quartet. By the end of the 50’s, seemingly recovered from his depression, he was recording prolifically, mostly as a leader butoccasionally as a sideman with Mr. Rollins and others.
The personnel of Mr. Roach’s working group changed frequently over the next decade, but the level of artistry and innovation remained high. His sidemen included such important musicians as the saxophonists Eric Dolphy, Stanley Turrentine and George Coleman and the trumpet players Donald Byrd, Kenny Dorham and Booker Little. Few of his groups had a pianist, making for a distinctively open ensemble sound in which Mr. Roach’s drums were prominent.
Always among the most politically active of jazz musicians, Mr. Roach had helped the bassist Charles Mingus establish one of the first musician-run record companies, Debut, in 1952. Eight years later, the two organized a so-called rebel festival in Newport, R.I., to protest the Newport Jazz Festival’s treatment of performers. That same year, Mr. Roach collaborated with the lyricist Oscar Brown Jr. on “We Insist! Freedom Now Suite,” which played variations on the theme of black people’s struggle for equality in the United States and Africa.
The album, which featured vocals by Abbey Lincoln (Mr. Roach’s frequent collaborator and, from 1962 to 1970, his wife), received mixed reviews: many critics praised its ambition, but some attacked it as overly polemical. Mr. Roach was undeterred.
“I will never again play anything that does not have social significance,” he told Down Beat magazine after the album’s release. “We American jazz musicians of African descent have proved beyond all doubt that we’re master musicians of our instruments. Now what we have to do is employ our skill to tell the dramatic story of our people and what we’ve been through.”
“We Insist!” was not a commercial success, but it emboldened Mr. Roach to broaden his scope as a composer. Soon he was collaborating with choreographers, filmmakers and Off Broadway playwrights on projects, including a stage version of “We Insist!”
As his range of activities expanded, his career as a bandleader became less of a priority. At the same time, the market for his uncompromising brand of small-group jazz began to diminish. By the time he joined the faculty of the University of Massachusetts in 1972, teaching had come to seem an increasingly attractive alternative to the demands of the musician’s life.
Joining the academy did not mean turning his back entirely on performing. In the early ‘70s, Mr. Roach joined with seven fellow drummers to form M’Boom, an ensemblethat achieved tonal and coloristic variety through the use of xylophones, chimes, steel drums and other percussion instruments. Later in the decade he formed a new quartet, two of whose members — the saxophonist Odean Pope and the trumpeter Cecil Bridgewater — would perform and record with him off and on for more than two decades.
He also participated in a number of unusual experiments. He appeared in concert in 1983 with a rapper, two disc jockeys and a team of break dancers. A year later, he composed music for an Off Broadway production of three Sam Shepard plays, for which he won an Obie Award. In 1985, he took part in a multimedia collaboration withthe video artist Kit Fitzgerald and the stage director George Ferencz.
Perhaps his most ambitious experiment in those years was the Max Roach Double Quartet, a combination of his quartet and the Uptown String Quartet. Jazz musicians had performed with string accompaniment before, but rarely if ever in a setting like this, where the string players were an equal part of the ensemble and were given the opportunity to improvise. Reviewing a Double Quartet album in The Times in 1985, Robert Palmer wrote, “For the first time in the history of jazz recording, strings swing as persuasively as any saxophonist or drummer.”
This endeavor had personal as well as musical significance for Mr. Roach: the Uptown String Quartet’s founder and viola player was his daughter Maxine. She survives him, as do two other daughters, Ayo and Dara, and two sons, Raoul and Darryl.
By the early ‘90s, Mr. Roach had reduced his teaching load and was again based in New York year-round, traveling to Amherst only for two residencies and a summer program each year. He was still touring with his quartet as recently as 2000, and he also remained active as a composer. In 2002 he wrote and performed the music for “How to Draw a Bunny,” a documentary about the artist Ray Johnson.
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