The intent is clear from the opening of hearing drummer Max Roach speak and play in a new PBS “American Masters” documentary: he focused on spotlighting and uplifting African American people.
“Max Roach: The Drum Also Waltzes,” premiering on Friday, Oct. 6, takes viewers on a journey through this man’s influential seven-decade career. Roach was not just a drummer, bandleader, and composer. He was an educator and activist for Black liberation, which was the fuel for everything he pursued.
“He wasn’t trying to be anything. He was already here,” said Harry Belafonte about his friendship with Roach.
Co-directors and producers Ben Shapiro and Sam Pollard have brought film, photos, and appearances from Roach’s contemporaries who tell his story. Roach, on camera, tells us who he is in a matter-of-fact sort of tone, but his bandmates really share who this respected leader is and his ability to sometimes just let things flow. The film is outstanding.
Roach’s Rise
Roach’s rise began in the 1940s. He performed with saxophonist Charlie “Bird” Parker, trumpeters Dizzy Gillespie and Miles Davis, and pianists Thelonious Monk and Bud Powell. The sound was called be-bop, but like many artists of that era, labels did not adequately describe the feeling. These musicians were thriving and played regularly.
“When I first heard Bird’s group, it was interesting. I didn’t dislike it,” said saxophonist Sonny Rollins with a bit of skepticism. “Eventually, I got what they were doing. Then I realized this was music for our generation.”
It was magic when Roach began collaborating with trumpeter Clifford “Brownie” Brown. The two formed a quintet in the mid-1950s, including bassist George Morrow, pianist Richie Powell, and saxophonist Harold Land. When Land left the group, Rollins replaced him. It was a highly acclaimed group that delivered many beautiful productions. Twelve albums were the hallmark of their work between Roach and Brown. The tragedy of a car accident killing both Brown and Powell had a devastating impact on Roach.
Roach married actress, vocalist and writer Abbey Lincoln, who also adopted the name Aminata Moseka. Together, activism guided their lives, including musical collaborations. Roach’s album “M’Boom,” co-led by drummer, pianist, vibraphonist and composer Joe Chambers included eight percussionists. “M’Boom,” rooted in Roach’s African sensibilities, took a different approach to percussion music.
“It’s that kind of love that those giants gave us. They actually said ‘We love you.’ We are going to give you music to make sure you survive,” said author and poet Sonia Sanchez. “That’s what Max did for us.”
This Max Roach documentary is another American music history lesson.
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