DRUM GURU - Key Persons
One of the greatest protagonists of making the drum set a truly "musical" instrument has left us. A firm believer of the concept that the drummer was not just a supportive rhythm player but a true musician, many people don't know that Max received a bachelor of music degree in composition from the Manhattan School of Music way back in 1955. I performed on several occasions with maestro Roach because I was fortunate to be Mario Bauza's drummer. He exuded jazz's two main aesthetic values, truth and freedom. He always, I mean always, when the question came up, publicly stated that Latino musicians have never been given the credit they so rightfully deserved to have in terms of jazz's history. For his musicianship and his acknowledgement of the contributions of our community, he was truly loved. The drum speaks and Max was a great coversationalist. How could he not be, he was a modern day griot. Just as he was eloquent on the instrument, he was eloquent and out spoken in his life off of the band stand. Just as he was a musical revolutionary, he was also a socio-political revolutionary. He was quick to point out injustices, not only in the industry, but also in our political system, long before it became the norm to do so by popular artists of the time. He once told me that historically any great evolution/revolution in any style of music comes from the instruments that play rhythm. It didn't matter if it was orchestral music, grunge, funk, Latin American music, etc. So true, as Max and Kenny Clarke proved, in the case of jazz, with their innovative approach to co-ordinated independence, phrasing, interpretion, and especially in Max's case, his greatest contribution, melodicism applied to the kit. There is great sadness in NYC. Visionary poet Sekou Sundiata, Mario Rivera, the ultimate sideman, saxophonist, flutist, multi-intrumentalist, bassist Art Davis, and now Max, the person who truly made the multiple percussion set (as he called it) a source of melodic invention, have all left us. Thank heavens, besides the memories, we have their recordings and writings, which immortalize their contributions live so that we can continue to be, and the next generation may be, inspired.
Bill Miller reported on the session for a cover of Modern Drummer Magazine. Having Bill at the shoot was great, as he had established a relationship with Neil and helped to make Neil feel relaxed. And in fact, we all were. When Neil left the studio on his motorcycle (his red BMW) when we wrapped, it felt like we had just finished a family weekend retreat.
Once the filming was done, we spoke with Neil regularly, and he weighed in on just about every creative aspect of the project, including the editing and packaging (for which he brought in Rush album designer Hugh Symes). He insisted we add a booklet. And he pushed us to use the highest quality boxed set packaging. Of course, he was right. He was always right! I came to learn of Neil's incredible intellect, incredible memory, his wide body of knowledge, his worldly experiences, his rock-solid honesty, work ethic, dedication to quality, personal loyalty, and kindness. And, of course, there was the i-word: integrity.
I first learned about Max through my former drum teacher Jack Gilfoy. He was the drummer for Henry Mancini for many years and we were discussing jazz and odd meters. He played for me the vinyl recording of ‘Rich vs. Roach' and I was floored.
From then on I've been reading and listening to many of the stories and music about Max and by Max.
To the immediate and drumming family of Max Roach… He will be greatly missed but NEVER forgotten. He played for the song…and WOW!!! What a song. Thank you for the years of building a library of music to share your talents with the future generations of music listeners everywhere!
On Sat 08/18/07 I did a gig with my power trio and spontaneously went into a tribute on drums to the legendary genius of jazz drumming, Max Roach. Let's all play Max Roach quotes on the gig if we can. It would be a small but fitting tribute all around the world. I'm going to quote Max on every gig I play for the month of August 2007. When I was a kid my beloved bandleader Al Korah said "kiddee when you grow up you gotta learn to sound like Max!" When I played with Dizzy Gillespie in 1989, I had my friend Paris Wright sit in on drums in the middle of a piece we were playing. Diz was not amused… Diz said to me: "Don"t you ever do that again… and in the middle of my solo too! … but then Diz gave my friend Paris the ultimate compliment - He laughed and said… "But you know what? THE BOY SOUND LIKE MAX!!!!!!"
I grew up in the 50's and started studying drums. My first jazz album that I bought was Max Roach plus 4 with Sonny Rollins, Kenny Dorham, Ray Bryant Billy Wallace and George Morrow recorded on two sessions Sept 17, 19 and 20, 1956 and March 20 1957. Iv'e treasured this album all my life. I thought Max was an unusual drummer due to his ability to make the drums sound like he was playing melodies and always thought of him as the best drummer in his time. My heart felt sympathy goes to his family and all who appreciated his remarkable talent. I would see him live at Birdland and sit in awe. He gave me so much inspiration and wished I had studied with him. I remebered Max when he opened a drum School with Buddy Rich but I wasn't able to afford the lessons. He will always be rembered in my life time as a genius who kept on reinventing himself as time went on.
I remember the first and only time (maybe thirty years ago) I saw Max play at the a club in Harlem (at one time it was the Cotton club, according to Grady.) Grady Tate took me there and I just sat directly behind him the whole night and just took in everything. After watching Max and trying to absorb as much I could from this rare and great opportunity. The things that stuck with me were I realized where Tony (Williams) evolved from and his posture was straight and balanced, which made his playing effortless. For some strange reason what really stuck with me was right after the downbeat of the first song his left stick went flying and he never lost a beat (he looked over his shoulder because he must have known I was studying him and shot me a confident smile.)To be honest that made me feel good because if the great Max Roach can drop a stick and it is ok for Danny Seraphine to drop a stick. So now whenever I drop a stick no matter, where or how,I think of one of the greatest drummers ever to grace this planet and smile. Grady later introduced us and he said he liked my band Chicago, that made me so proud. We've lost a national treasure and must never forget him. He gave so much and got so little in return, but he will never be forgotten.
Seeing Max for the first time in the early 80's in Chicago was a life changing experience for me. He played numerous solo pieces, especially the Drum Also Waltzes, and I was sitting about 10 feet from him just watching the interplay between hands and feet. Fantastic. Max was important to more than just the development of drumming, he was a founder of musicians taking social and political stands and then having those platforms come through in his music. A fantastic man.
I was 8 years old. My father had a big collection of jazz records. One day, because I used to listen his records, he asked me: "do you know a drummer named Max Roach? -No I answered. "Listen!!" and he tooks "Deeds not Words" from his collection. "Max has developped melodic solos" he told me. One of the best example is "Conversation". I was blow'n away!!! It was the first time I'd listen such thing! Max Roach is responsible for my vocation. He was my main influence beetween 8 and 15. Now I always play drums, but I have got the chance to write article for french magazine Batteur magazine, and I prepare an article about Max. He was one of the last jazz living legend…
Even though I'm not a musician, I'm a fan of jazz drumming. Before I discovered Max Roach my favorite drummers were people like Steve Gadd and Billy Cobham. They still are! Naturally, when I discovered Max Roach I listened to everything I could get my hands on that featured him. Bird, Brownie, Rollins, etc, etc. But my memory of seeing Max Roach in person is from 1997 at the 92nd Street Y. For a whole week Max Roach took over the 92nd Street Y and a different facet of his talent was displayed every night. One night he performed with video artist Kit Fitzgerald, another night he played behind dancer Bill T. Jones, etc. One night he faced off against Tito Puente in what was billed as a "Battle of the Titans." It certainly was that. What a great percussive night! And what a great drumming talent Max Roach was. He may be gone but he will certainly not be forgotten.
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 August 16 in Manhattan. He was 83.
Max Roach was one of the most consummate artists in jazz, be it as a brilliant drummer and soloist, a challenging leader, and a talented writer. Roach, along with Kenny Clarke, started the bop revolution in drumming. While Clarke was the actual pioneer, Roach really brought the style to fruition and to its peak, with astounding technique and melodic drum solos.
Clarke is credited with influencing percussive timekeeping, by way of transferring the timekeeping element from the snare and bass drums to the ride cymbal, with appropriate accents on the snare and bass drums. Max extended Clarke's foundation via his snare, tom-tom and bass drum work, with each drum working independently as both sensitive accompanist and melodic soloist. Max Roach was not merely a timekeeper. He virtually invented the concept of communication between drummer and soloist.
Unlike Clarke and Blakey, Roach explored classical percussion, symphony, odd time signatures (way before Dave Brubeck, God bless him), music derived from Broadway musicals, etc. Indeed, he had been a Professor of Music at Amherst for some year.
Roach's drum solos were among the most melodic-and perhaps the only-drum solos jazz has ever known where one could actually hear the melody of the song. And this was played, most of the time, on four drums.
He always has had the curiosity to move forward stylistically and grow as a musician.
Roach's recording career spanned fifty years, from the 1940s through the 1990s. His greatest works? With The Charlie Parker Quintet from 1945 to 1947, his own group with Clifford Brown from 1954 to 1956, and his astounding duets in later years with Dizzy Gillespie and avant gardist Anthony Braxton.
In terms of listening suggestions, there are many, but Max Roach expanded the horizons of percussion in such albums as "Jazz in ¾ Time," "Max Roach: Percussion Bitter Sweet" (featuring the great trumpet of Booker Little), and "It's Time," where Roach experimented with the use of voices in the ensemble.
No, you didn't see Max on the Johnny Carson or Merv Griffin shows (though he was on the David Frost program). But Max Roach, like Gene Krupa, Jo Jones, Sid Catlett, Dave Tough, Chick Webb and Kenny Clarke before him, forever influenced and dictated the way drums were and are played.
Max Roach was the father of modern jazz drumming. His innovations and contributions changed the way drums were played. As a timekeeper, he had few equals. As a soloist, his drum solos were literally "horn-like," in that he played actual choruses and actual melodies. He pioneered the use of odd time signatures in jazz long before those who ultimately received credit for it. Max Roach was one of the few musicians in history who evolved through several "schools" of jazz, from swing to bop to hard bop to avant-garde. As a human being? You wouldn't have thought it, but Max was a frequent visitor to the bedside of Buddy Rich during Buddy's final illness. In fact, Max said at the time, plans were underway to record a "Rich versus Roach" Volume Two before Buddy became ill. Now that would have been something, but perhaps, wherever Roach and Rich are now, they can finally pull it off.
Max Roach was a special individual. He was a man of integrity with a social conscience who was concerned with the human condition. His efforts helped to make the world a better place. He expanded the language of music and the drums. What he gave us all is eternal. Thank you!
Max Roach was a beautiful player and his art is the most sensual I have ever heard.
Job Titles:
- Designer & Developer - Hudson Music
If it wasn't for Max my playing wouldn't be anything like it is today. He was one of the first people who got me into jazz, I remember getting an album with him and Buddy Rich and was blown away by how musical and creative his playing was. He was playing phrases with musical ideas that I had never heard anyone do before, like playing the bass drum on off beats.
I then discovered his playing with Dizzy Gillespie and Clifford Brown. It was amazing how supportive his playing was with those guys. He was always in the pocket but he wasn't playing conventional time either.
I discovered his avant garde playing with Mingus after that. I think Max is an under ratted avant garde player, he once again reinvented his style but kept his musicality.
When I heard he had passed away I was driving to work. I felt an extreme sadness like I had lost a family member or something. It troubled me so much I tried talking about it with my co workers. When I got home I put on a recording of Max and Clifford Brown and realized at that moment just how big of an impact his playing had on me. Max you will be greatly missed and never forgotten.
Neil Peart's passing is a colossal loss for the drumming community. Possibly only paralleled to Buddy Rich or John Bonham's deaths. But it has transcended beyond just the Drum community…the outpouring of love and tributes since his passing prove his impact on the world beyond just us drummers.I've often said: there are no such thing as ‘best or greatest', there's only ‘favorites'… You know what, there is one exception: Pound For Pound, Era For Era, Neil Peart was the G.O.A.T.
Neil Peart was a Renaissance man. Most of us know him as the iconic drummer and lyricist of Rush. But beyond his exceptional talents in the world of music, Neil's zest for life, thirst for knowledge, and quest for adventure led him down many divergent paths.I had the honor and pleasure of meeting Neil in 1985, when The Steve Morse Band toured with Rush as their opening act on the band's Power Windows Tour. Most touring musicians will attest to the absolute joy and excitement of bringing their music to audiences around the globe. Most of these same musicians will also agree on the physical and emotional toll that endless touring can take on a human being.
That said, a typical show day often consists of travel, sound checks, meet and greets, interviews, the performance, followed by more meet and greets. Well, as if this is not enough, a typical show day for Neil Peart on Rush's ‘85/'86 ‘Power Windows Tour' would usually begin in the wee hours of morning, as Neil would journey on his bicycle from the previous city (assuming said previous city was within 150 miles of the next gig). Neil would often be on his bike for hours, arriving in time for Rush's sound check. Directly after sound check, he would have dinner, which was immediately followed by a one-hour conversational French language lesson with a local French-speaking tutor. Upon completing his French lesson, Neil would proceed to a private practice room and warm-up on a small drum kit prior to the band's two-hour concert. After the concert, Neil would usually hang for a short time before excusing himself to go to the band's tour bus, to work on one of his future literary creations.
Sometime during this same time period, when he had some time off from touring, Neil flew to China, where he met up with a handful of bicycling enthusiasts for a 3-week journey through remote parts of the country. With pad and pen in hand (at the time, Neil felt that a camera interfered with the creative process) he would jot down highlights of the day's experiences, which eventually culminated in one of his first literary works entitled, ‘Riding The Golden Lion'. In addition to the writing portion of this 39-page journal/book, Neil was involved in every step of the process in putting the book together, including choosing the cover art, font, page color and thickness, etc. I believe it was the first outing in what would become a passion of his, eventually authoring several critically acclaimed books.
On the very last day off of The Steve Morse Band's final leg of the Rush Power Windows Tour Neil, Alex, and Geddy took our band to an exotic restaurant for a memorable band dinner. Sitting cross-legged on pillows on the floor, in our very own private room, sans silverware, we dined on an incredible feast of delicacies using only our fingers. Alex, a wine expert and connoisseur, made sure the nectar of the Gods was flowing. So, there I am sitting next to Neil, chit-chatting while trying to think of something interesting and stimulating to say to this sophisticated, worldly, well-traveled man. Neil beat me to the punch, turning to me and posing the question, ‘So Rod, have you ever considered the effects of climate on the development of Western Civilization?'
That, in a nutshell, sums up the ever-inquisitive Neil Peart, always seeking knowledge and new experiences, never happy with the status quo. He is the textbook definition of ‘Carpe Diem', seizing every moment of life to engage in something of importance, be it music, reading, writing, philosophizing, bicycling, motorcycling, sailing, cross-country skiing, trekking through foreign lands, climbing the highest peaks, and devoting himself to family. He is a truly inspiring human being, whose breath of humanity has touched millions around the world.
I am forever grateful to have known this unique and special man.
I only met Neil Peart once, but it was a lovely meeting indeed. I had flown to LA to work on Brian Wilson's Gershwin record in December 2009 and while I was at the hotel the night before the sessions began, I received an email and photo from Jimmy Johnson (our long time guitar tech, and Neil's long time friend and Rush crew member). Jimmy said, "Neil just sent me this picture of his hockey drum kit. He's recording the Canadian Hockey Night Theme with it in LA tomorrow."When I walked into Ocean Way Studios the next morning, Sabian cymbal artist rep, Chris Stankee, was in the lobby. I gave him a hug and asked him what he was doing there and he said was looking after Neil. He suggested we should say hi to him now as they were about to get to work in the studio next to the one where I would be working, so I dropped off my cymbals and grabbed a bagel (I was hungry) and off we went to the next studio over from Brian's.
What can I say…As a person Neil was a really nice guy. The times we hung out he was alway so polite and quiet. But struck up very interesting conversations about drumming. One time I talked to him about some of the nice things he said in a couple of interviews about me he was so humble and just said something like "thanks no problem it's all true"… so nice.
As a player he rocked with Rush. One of my favorite tracks was Tom Sawyer. He seemed so relaxed at at home going in and out of the 7/8 time back to 4/4 while playing fast melodic drum fills. It was awesome with a drum sound that you'd be able to hear each note he played.
And he has done this live as well. We will keep on hearing his drums and lyrics on every classic rock station for years to come and well deserved. Gold bless.
My fellow drummer, RIP. He WILL be missed.
Neil Peart loomed large in my life for nearly 30 years. He was a constant presence, spiritually and otherwise, on an almost daily basis during my tenure at Pro-Mark. I had the opportunity to get to know him and and visit with him many times over the years. While I can't say we were ‘buddies', we certainly had a very friendly relationship and shared some very deep philosophical conversations.When my 1st wife died, Neil was one of the first with condolences, since he knew exactly what I was going through. When I introduced my now-wife to him during their last trip through Houston, he told me how happy he was for me because, again, he understood.
I first met Neil face to face in the late 80s. I'd been Director of Artist Relations for 4-5 years at that point and, honestly, when I joined the company, I really didn't know anything about Rush or Neil. As I recall, a band called Triumph was doing pretty well at the time and I thought Rush was just another power trio. Then, I saw them live and I ‘got it'! They kicked some serious ass and looked like they were having fun doing it.
As the years passed, we had many more encounters and, each time, he seemed more relaxed around me…perhaps because it was a ‘business' relationship, but maybe it was because I made a point never to talk about the business of music. But, we DID talk about music. At some point, I mentioned that my mom was a trained operatic soprano, and that launched a conversation about the merits of German Opera vs Italian Opera. The man was DEEP!.
As a child, I spent hours listening to Rush albums. I learned about composition, arranging, odd time signatures and rudiments, not realizing this would later be the foundation of my career as a drummer. Neil's lyrics brilliantly guided the melodies that told the stories that became the soundtrack of my youth. I was blessed to see Rush play live several times as a teenager and as an adult, and every time it was better than the last.
In 2009, I was playing a show on Broadway called In the Heights. I received a call informing me that Neil was in the audience. I will never be able to explain the feelings I had. I later read Neil's blog where he described his experience. I couldn't believe how lucky I was. I've long known about Neil's need for privacy. It was easy for me to understand shyness in that capacity, as I too share those feelings. Neil sent me two incredibly thoughtful gifts by way of our dear mutual friend. I will have them for the rest of my life.
Job Titles:
- President & Owner - Hudson Music
One of the last of the truly great jazz music stylists, a true innovator. He will be sorely missed. He took the drum kit and put it up front with the horns where it truly belongs.
All I can really say is wow. When i first heard Max play my jaw dropped. It was downright amazing. He took the issue of perfection and pushed it to the breaking point. This man should be an insperation to all brave souls who pick up sticks from now untill the end of time.
When I started to play drums at 12, I remember seeing a video of this sensational drummer that could not only play amazing drum solos, but great melodies inside the drum solos as well,I was totally static seeing this talented drummer.. I discovered the great legend, Max Roach. 18 years later I still get amazed and learn from this master in the art of musical drumming, superb cymbal work and amaizing time signatures. He will be greatly missed, God bless his soul.