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MAX ROACH drummer
LIFELINE
born 1924
1924
Maxwell Roach is born in North Carolina, and spends most of his childhood years in New York. Gospel music is an early influence; he receives a drum kit when twelve and later he studies composition and music theory at the Manhatten School of Music.

early-1950s
Roach leads his own groups, and becomes a partner with Charles Mingus in Debut Records, which records the celebrated Massey Hall concert in 1953.

late-1950s
Roach continues to lead his own groups with a galaxy of reputable sidemen: Donald Byrd, Booker Little, Freddie Hubbard, Hank Mobley, George Coleman and Mal Waldron among others.

1960s-1980s
Unlike many jazz artists, Roach's horizons widen and his ensembles become more adventurous as his career progresses. He works with choirs, string quartets, percussion groups, with innovative artists like Cecil Taylor and Anthony Braxton, performs as a soloist, and collaborates with rappers in the 1980s. Similarly his composing has expanded, writing for his many varied groups, Broadway, television and symphony orchestras. He still performs and tours today, exploring both musical form and style.

Increasingly Roach has become involved in social and civil rights issues, and since the early-1970s has taken an interest in teaching.

1940s
Roach sits in at Minton's and Monroe's in 1942, and for the rest of the decade he soaks up, and contributes to, the early sounds of bebop. In 1943 he replaces Kenny Clarke in Coleman Hawkins's group, works with Dizzy Gillespie in 1944, tours with Benny Carter and plays with Charlie Parker in 1945. He makes some seminal bebop recordings from 1947 to 1949 as a member of Parker's group.

1954-56
Roach forms a quintet on the West Coast with trumpeter Clifford Brown, later joined by Sonny Rollins; but Brown is killed in 1956. This group is one of the most influential of the decade, setting standards for what was later to be known as hard bop.


STYLE
Max Roach is one of the great drum soloists of modern jazz. Alongside Art Blakey and Kenny Clarke, his innovations took jazz drumming forward in the 1940s and his use of the ride cymbal and not the bass drum as the rhythmic pulse became accepted practice in the 1940s and 1950s. His ensemble work, like his solo work, rarely dominates a performance; his sound remains uncluttered and organised, his solos gradually gaining momentum with delicate touches of pitch and timbral variety: his work on the classic album Saxophone Colossus, for instance, was as telling as that of Sonny Rollins.

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