Max Roach

Clifford Brown & Max Roach Quintet - Clifford Brown & Max Roach

Clifford Brown & Max Roach Quintet Clifford Brown & Max Roach (EmArcy 1954)

- Francois Leave a comment

One of the must-haves. Clifford Brown & Max Roach is a brilliant, textbook example of balanced storytelling, responsive interplay and vital, fluent swing.

Clifford Brown & Max Roach Quintet - Clifford Brown & Max Roach

Personnel

Clifford Brown (trumpet), Harold Land (tenor saxophone), Richard Powell (piano), George Morrow (bass), Max Roach (drums)

Recorded

on August 2, 3 & 6, 1954 at Capitol Studios, Los Angeles

Released

as MC 26043 in 1954

Track listing

Side A:
Delilah
Parisian Thoroughfare
Side B:
Daahoud
Joy Spring
Jordu


Straight from the short-lived 10-inch era of the early/mid-fifties, Clifford Brown & Max Roach. Five tunes, two instant classics and standards, 30 minutes of sizzling, masterful modern jazz. What more could one ask for? If you can’t say it in a mere half hour, you better cut it out… To be sure, when EmArcy switched to the 12-inch format in the slipstream of bigger labels like Columbia, three tunes of the August 1954 session were added. Max Roach and rising trumpet star Clifford Brown initially formed a quintet with, respectively, Sonny Stitt and Teddy Edwards.

The quintet finally gelled into a subtle, driving cooperative unit with Harold Land, who was relatively unknown at that time but immediately made his name through his excellent work with Brown/Roach. Finally, Land was followed up by Sonny Rollins, who completed a notorious outfit that came to its abrupt end in 1956 when Clifford Brown and pianist Richard Powell were tragically killed in a car crash.

The stays of some jazz legends on planet Earth were cut short much too soon. Charlie Christian, Scott LaFaro and… Clifford Brown. But the impact of these searchers for new vistas has been penetrating and everlasting. Clifford Brown displayed a balanced vitality that is rarely if ever matched. He transformed tragedy into a smile. His music comes out cleanly and gaily through his horn. Bit of a heir to Louis Armstrong, if you ask me… A bittersweetly happy, completely authoritative virtuoso. The Crown Prince, if you will.

Max Roach was thirty years old at the time of recording Clifford Brown & Max Roach, veteran of bop that took the revolutionary rudiments of Kenny Clarke and fulfilled the quintet format with Charlie Parker, a blaze of new accents, motives, melodicism. He’s the glue of the quintet, which delivers an unusual brew of virility, balance and fluent swing. Once Delilah is underway for barely one minute, you know you’re in for a treat. As in a bee colony, proceedings go as planned, there’s a definite sense of order while all members dart this and that way frivolously and seemingly at random. Roach succinctly supports the movement of the changes, Morrow and Powell provide the solid framework for the soloists, a simultaneously smooth and driving flow and a paradise for Harold Land, who takes a wonderful first shot, simultaneously at ease and insistent.

Clifford Brown is the queen bee. Daahoud is his habitat. Daahoud was an instant classic. Uptempo bouncing ball… A wave of fresh air, springtime breeze accompanying the swarm of bees at the country farm… Clifford Brown is the frivolous bee, giving birth to lean flights in the upper register that serve as the apex of a brilliant package of honey notes, deceptively simple, fluent phrasing, relentless swing that makes us very… happy. His attack is ferocious yet smooth. The ideas keep coming. Brown plays a Socrates-que discours of question and answer with himself and talks shop with his partners, intuitively, a game of hi-level split seconds. Max Roach hits the pocket almost Blakey-style, a kick start to the soloist’s story on the one hand, a crash cymbal bash to signal the next in line on the other hand.

Talkin’ about Spring. Joy Spring cannot be left unmentioned. The other instant classic, the lovely melody that Clifford Brown wrote for his wife, nicknamed “Joy Spring”. Don’t you want to be called Joy Spring? Joy Spring, you’re the sweetest… Joy Spring, dinner is ready!… Joy Spring, I warmed your spot, please come on up… None of that seven-year itch with husband and Joy Spring! The mid-tempo, relaxed bounce underlines Brown’s affectionate, sweet but tart words of love.

Bud Powell’s Parisian Thoroughfare offers more vital features by Brown and Roach, whose effective simplicity as a soloist is admirable. Roach plays like a horn player. Richard Powell, brother of Bud, hooks up with the strikingly boogie-woogie-ish drive of the bop anthem. The quintet rounds off the 10inch platter with Duke Jordan’s contagious blues-based Jordu, a version as lovely and enticing as a Lotus flower. It is as if these men contaminated each other with the fever of nuanced storytelling, virile swing, fluidity, ideas… Clifford Brown And Max Roach is a very “ill” album indeed! Not to mention “dope” or “master” or whatever youngsters call spectacular these days. Something I’m not aware of I’m sure. I’m old-fashioned and I don’t mind it…

Sonny Clark Trio: The 1960 Time Sessions

- Francois Leave a comment

SONNY CLARK – Great news, the independent Tompkins Square label has put out a 2LP, yes, vinyl, of Sonny Clark music. Sonny Clark Trio: The 1960 Time Sessions With George Duvivier And Max Roach is due out on November 24. It boasts several outtakes of Clark’s session at Bell Sound Studios in NYC in January, 1960, a session that would lead to the first album of compositions written solely by Clark. It preceded Blue Note’s Leapin’ And Lopin’, Clark’s swan song as a leader, also a recording that showed the fulfillment of Sonny Clark as a composer. The story of how this new release came about on Josh Rosenthal’s Tompkins Square label is surprising and has something to do with comedian Judd Apatow… Read an illuminating article on Sonny Clark and the new release by Nate Chinen of WBGO here.

Tompkins Square, 2017
Tompkins Square, 2017
Bell Sound Studios, NYC, 1960
Bell Sound Studios, NYC, 1960
Time Records, 1960
Time Records, 1960

Sonny Rollins - Rollins Plays For Bird

Sonny Rollins Rollins Plays For Bird (Prestige 1957)

- Francois Leave a comment

Sandwiched between the colossal Saxophone Colossus and future landmark albums Way Out West and A Night At The Village Vanguard, Rollins Plays For Bird is a mildly disappointing homage to Charlie Parker from, paraphrasing Gunther Schuller, the central figure of the erstwhile renewal of jazz.

Sonny Rollins - Rollins Plays For Bird

Personnel

Sonny Rollins (tenor saxophone), Kenny Dorham (trumpet), Wade Legge (piano), George Morrow (bass), Max Roach (drums)

Recorded

on October 5, 1956 at Van Gelder Studio, Hackensack, New Jersey

Released

as PRLP 5097 in 1957

Track listing

Side A:
Bird Medley: I Remember You / My Melancholy Baby / Old Folks / They Can’t Take That Away From Me / My Little Suede Shoes / Star Eyes
Side B:
Kids Know
I’ve Grown Accustomed To Her Face


It would be hard to top the Colossus, of course. One of the classic jazz albums of all time, it displays Rollins at an early peak, inventing new possibilities for jazz and the tenor saxophone: the exuberant and structurally logic improvisation of Blue Seven, the knack of turning unconvential material like Moritat into simultaneously complex and accessible gems, the introduction of exotic (West-Indian) roots and rhythm in the unforgettable calypso tune St. Thomas (A tune credited to Rollins, but actually a traditional that was first recorded by Randy Weston as Fire Down There in 1955) and the exploration of the tenor’s full range in ballads like You Don’t Know What Love Is.

Little of that on Rollins Plays For Bird, a recording of the Sonny Rollins Quintet, which was actually the line-up of The Max Roach Quintet shortly after the passing of trumpeter Clifford Brown and pianist Richard Powell. It feels rather as if Rollins is treading water and not getting to the point one would hope for in the case of a tribute to one of his major musical forebears, Charlie Parker. The Bird Medley that takes up the full 23 minutes of side A does possess a relaxed, swinging vibe and a tacky structure where Rollins, Dorham and pianist Wade Legge subsequently guide us through the themes. Dorham’s sweet-tart tone and fluent, unhurried phrasing are assets. The confident flow of Rollins’ lines is evident, the finest moments coming when he playfully explores the low register of the tenor sax in They Can’t Take That Away From Me.

However, considering Bird, the choice of repertoire hardly does justice to the modern music giant. Indeed, Parker regularly played these tunes but one would expect songs that he wrote himself or configurations of standards that have become iconic. Moreover, a medium tempo (excluding a short double-time section) is maintained throughout, interspersed with formulaic theme-solo-theme sections and trading of fours between drums and soloists. Attention easily drifts elsewhere. Compared with the commanding title track of Freedom Suite, the cooperation of Rollins with Max Roach and Oscar Pettiford of five months later, a medley of varied Rollins originals that also takes up the whole of side A, the Bird Medley comes up a decisive second. In favor of the latter, it consisted of one spontaneous take, while the Freedom Suite was glued together from seperate tracks.

I’ve Grown Accustomed To Your Face is a solid if not extraordinary ballad rendition, and a common choice of Rollins, who otherwise was revered for digging up obscure or unlikely standards. The Rollins original Kids Know, like the medley also played in medium tempo, has a frolic, catchy theme. Alas, Max Roach, seemingly not in the best of moods, practically drags it to death.

Just one week later, the clouds parted considerably and the quintet (including Ray Bryant) delivered the sprightly, inspired album Max Roach + 4. Six months later, Rollins delivered on the promise of Rollins Plays For Bird with the A Night At The Village Vanguard album, reviving standards and Parker contrafacts with a level of spontaneity and experimentation that has set a standard to this day.

Considering a giant like Rollins, expectations run, and ran, high. In this respect, Rollins Plays For Bird underachieves considerably.

freedomsuite

Sonny Rollins Freedom Suite (Riverside 1958)

- Francois 1 Comment

The title track of Sonny Rollins’ provocative 1958 album Freedom Suite takes up the whole of side A. Does anybody ever care to continue listening to side B’s set of Broadway and pop reworkings in one sweep? I would guess not. Notwithstanding the merits of those intriguing pop interpretations, the Freedom Suite is just too overwhelming. It begs to be relistened once the needle is off.

freedomsuite

Personnel

Sonny Rollins (tenor saxophone), Oscar Pettiford (bass), Max Roach (drums)

Recorded

on February 11 & April 4, 1958 at WOR Recording Studio, NYC

Released

as RLP 12-258 in 1958

Track listing

Side A
The Freedom Suite
Side B
Someday I’ll Find You
Will You Still Be Mine
Till There Was You
Shadow Waltz


Nowadays, the place of Freedom Suite in the pantheon of influential musical statements of black consciousness is safe and secured. Back then, it was a bold stroke from a successful, innovative jazz artist who allegedly had trouble finding a decent apartment in New York City due to white racism. The message is hard to overlook. In the original sleeve notes, a statement from Sonny Rollins is included:

“America is deeply rooted in Negro culture: its colloquialisms, its humor, its music. How ironic that the Negro, who more than any other people can claim America’s culture as its own, is being persecuted and repressed, that the Negro, who has exemplified the humanities in his very existence, is being rewarded with inhumanity.”

The image of Sonny Rollins on the front cover might be explained as the visual companion to his written words. Rollins, half-naked, cast in shadows, with a hurt, yet defiant countenance, looks purported to resemble a slave. It connects with the parts of the suite that bear an eerie resemblance to chain gang songs.

First and foremost, Sonny Rollins lets the music speak for itself. The Freedom Suite (the title track) combines the harmonic daring and fervent drive of Rollins and the controlled fire and melodic finesse of his companions Max Roach and Oscar Pettiford. It’s built on three movements of similar, short melodies and fascinates from start to finish. In the opening melody, a tacky, jingle-like cluster of phrases that show Rollins’ affinity with the playful, quixotic themes of Charlie Parker, Rollins takes seven minutes to explore every angle of the melody. Pushing or pulling the beat, veering between registers by way of an assertive flurry of arpeggio’s, Rollins glues together heartfelt sweeps and humorous asides. Oscar Pettiford sternly pushes along the loping rhythm. Max Roach concentrates almost as much on melody as Rollins; constantly favouring snare and toms above cymbals, Roach ferociously mirrors the instant gems Rollins cooks up. It’s a spontaneous, exciting group performance.

After a pause, the trio sets in the rollicking theme that sounds like a chain gang or slave boat song. Paradoxically, it also has the giddy-up bounce of a cowboy song. Via a couple of a capella Rollins phrases, it segues into a beautiful ballad. It’s not a blues, but blues feeling is at its core. The husky delivery of Rollins is supported succinctly by Roach and Pettiford. They take plenty of room, as in the first movement, to display their excellent solo qualities. Roach and Rollins shared a lot of experience, having collaborated in the Max Roach/Clifford Brown quintet and on a couple of Rollins albums, among them the landmark album Saxophone Colossus.

After another chain gang bounce intermezzo, Rollins thrusts himself headlong into a short melody at breakneck speed. It’s the Sonny Rollins of Live At The Village Vanguard 1 & 2, elaborating on bebop principles with fresh, harmonic elan. The near-anarchic Rollins is in top form, beginning and ending phrases where you least expect them to. The piano-less endeavor has clearly worked in Rollins’ favour. Freedom Suite possesses a rugged beauty. Before Freedom Suite, Rollins had recorded succesfully with piano-less trio’s on Way Out West and the beforementioned Village Vanguard albums. He would continue displaying his fascination for the format with The Bridge in 1961.

Rollins is admired for his knack of finding and transforming often obscure Broadway, Tin Pan Alley and pop melodies. The interpretations on Freedom Suite have that typical Sonny Rollins sound of surprise, but lack the bliss of renditions such as There’s No Business Like Show Business (from Worktime) The production doesn’t work in his favor as well. The sound of the rhythm section is pretty flat and dry – listening to Max Roach cardboard box sound, one feels inclined to assume that it must’ve been Riverside’s objective to re-create the demo sound of a live gig at Minton’s Playhouse in the late fourties.

Of these reworkings, Will You Still Be Mine is the most interesting. The intricate rhythm work of Roach and Pettiford intensifies the mood of Rollins, who reacts with an extravagant climax. The call and response between Rollins and Roach on Someday I’ll Find You is an attractive asset to a pretty melody. Till There Was You – also recorded by The Beatles in 1962 – is a sax-bass duet for the biggest part. Rollins succesfully avoids its corny character. The only time Sonny Rollins doesn’t seem up for his task is on Shadow Waltz. He sounds detached, unable to get under the skin of the melody.

Sonny’s statements in the sleeve notes ring through. Both daily life (housing, employment) and law (the victory of Brown vs Board Of Education backfired) still put blacks in disadvantage around 1958. Racism persisted around the country. A disproportionate number of poor blacks had died in the Korean war. But being a musician, being the continuously inventive Sonny Rollins, the music of Freedom Suite is what speaks most eloquently. Rollins doggedly met the challenge of the experimental title track and showed what jazz is all about.

Stanley Turrentine - Stan The Man

Stanley Turrentine Stan ‘The Man’ Turrentine (Time 1960)

- Francois Leave a comment

Stanley Turrentine swings impeccably on his 1960 debut as leader Stan ‘The Man’ Turrentine, but his style isn’t as fully formed as on his later albums for Blue Note.

Stanley Turrentine - Stan The Man

Personnel

Stanley Turrentine (tenor saxophone), Tommy Flanagan (piano A1, A3, B2-3), Sonny Clark (piano A2, B1, B4), George Duvivier (bass), Max Roach (drums)

Recorded

in January 1960

Released

as Time 52086 in 1960

Track listing

Side A:
Let’s Groove
Sheri
Stolen Sweets
Side B:
Mild Is The Mood
Minor Mood
Time After Time
My Girl Is Just Enough Woman For Me


High quality sidemen Sonny Clark, Max Roach and George Duvivier recorded Sonny Clark Trio for Time Records in the same year. They bring a natural flow to Turrentine’s session, that also saw the more lighthearted Tommy Flanagan replace Sonny Clark; the latter adds Bud Powellesque twists and turns to Sheri. Stolen Sweets, a pretty Wild Bill Davis shuffle, is a highlight on this album.

This date is also issued by the same label as Let’s groove under leadership of legendary drummer Max Roach. (Picture sleeve addicts will undoubtly prefer this French copy to Stan ‘The Man’ Turrentine.) Exploitative practices of this kind are not uncommon. One wouldn’t expect chief of Time Records, Bob Shad, (best known for the Mainstream label’s polished 300 series) to go for a fast buck. However, it looks ‘shady’, to say the least.