Παρασκευή, 12 Οκτωβρίου 2012

FLOWERS OF ROMANCE - THE GREEK BAND





The Flowers Of Romance was a pioneering punk and gothic rock band of the underground Greek rock scene from 1981 to 1998. The Flowers Of Romance’s energetic sound and combinations of several styles of rock led to their prevalence within the underground Greek rock scene for nearly two decades, and a belief by many that they were the top Greek gothic rock group in history.



Career

Punk era:1981-1990

Inspired by punk bands such as The ClashThe Damned, and the Dead Boys, lead vocalist and frontman Mike Pougounas formed The Gift along with guitarist Costas Venos and bassist Tasos Dimitriadis on February 2, 1981, in Athens. The name The Gift did not last, and the band later changed their name to The Flowers Of Romance, as a tribute to punk legend Sid Vicious and one of his pre-Sex Pistols bands.
The Flowers Of Romance quickly gained a cult status throughout the underground Greek rock scene by setting themselves apart with a unique punk sound that incorporated dozens of musical styles and English-language lyrics. Tasos Dimitriadis and Costas Venos left the group in 1984.




In replacing these vacancies with Achileas Geromoshos on the guitar and Haris Stavrakas on the bass, 1986 saw the release of The Flowers Of Romance’s first tape, “Anovis”. Anovis helped further cement the band’s status as a Greek Rock mainstay, a status which led to their securing a contract with Wipe Out! Records in 1988. This new contract allowed for “Autumn Kids”, one of The Flowers Of Romance’s most popular songs, to be released on “Wipe Out!’s 12 Raw Greek Groups” punk rock compilation in 1988.








The Flowers Of Romance underwent more changes of membership as George Venizelos was replaced by drummer Babis Efthymiou, bassist Haris Stavrakas was replaced by Teo Botinis, and guitarist Platon Papadimitriou joined the band, turning The Flowers Of Romance into a five-man band for the first time. Mike Pougounas remained as the lead vocalist, and by 1990, he was the only original member of the group.
Capitalizing on the exposure from “Wipe Out!’s 12 Raw Greek Groups”, The Flowers Of Romance began work on their first album, Dorian Grey. Its tracks consisted of the band's songs between 1986 and 1989, including “Kashmir” and “There is Nothing We Can’t Solve Together” and The Flowers Of Romance's cover of Bolan's "Children Of The Revolution" was a cult hit in Greece.[1] The Dorian Grey LP also began to showcase an evolution in The Flowers Of Romance’s sound, as they incorporated elements from other musical styles. The Dorian Grey LP was also the band’s first foray into the gothic rock style, making The Flowers Of Romance not only the first Greek gothic rock band, but making The Dorian Grey LP the first Greek gothic rock album to be distributed internationally.
Dorian Greys release in Greece and across Europe resulted in the album becoming an underground hit for The Flowers Of Romance that led to their national exposure and appearances on Greek national television in 1990. Similar to The Flowers Of Romance’s later albums, Dorian Grey was considered one of the 50 best Greek rock albums of all time.[2]

Οι Flowers of Romance είναι ένα από τα πιο σημαντικά και από τα παγκοσμίως πιο γνωστά σχήματα της εγχώριας ανεξάρτητης ροκ σκηνής. Ξεκίνησαν ως punk σχήμα από το 1981 με τον ήχο τους να εξελίσσεται διαρκώς και να ωριμάζει μέχρι και την τελευταία τους κυκλοφορία. Στη διάρκεια αυτών των ετών οι F.O.R. κυκλοφόρησαν αρκετό υλικό σε βινύλιο και cd και συμμετείχαν σε πολλές εγχώριες και διεθνείς συλλογές και έκαναν πολλές ζωντανές εμφανίσεις. Για περαιτέρω πληροφορίες σχετικά με την ιστορία του γκρούπ, μπορείτε να επισκεφτείτε αυτή την σελίδα αλλά και αυτή. 
Το πρώτο τους
LP κυκλοφόρησε από την Wipe Out Records το 1990 με τίτλο "Dorian Grey" και κατέχει τα πρωτεία του πρώτου gothic rock άλμπουμ στην ιστορία της ελληνικής ανεξάρτητης σκηνής. Η ανήσυχη "ψυχή" και φωνή των F.O.R., ο Μιχάλης Πούγουνας είναι ο κύριος συνθέτης, στιχουργός, κοντολογίς ο ιθύνων νους του συγκροτήματος στη διάρκεια ολόκληρης της ιστορίας τους. Το "Dorian Grey" ολοκληρώνεται με την εξαιρετική συνεισφορά του Πλάτωνα Παπαδημητρίου και Αχιλλέα Γερομόσχο στις κιθάρες και του Θόδωρου Μποτίνη στο μπάσσο και Μπάμπη Ευθυμίου στα τύμπανα. Πιο συγκεκριμένα, το "Dorian Grey" βρίθει από πανέμορφα και δυναμικά goth rock τραγούδια τα οποία οπωσδήποτε ικανοποιούν τους λάτρεις του είδους και όχι μόνο. Ήδη από το εκρηκτικό μεν, συγκρατημένο δε "Shooting a Love Fix" που ανοίγει το δίσκο διαφαίνονται οι τάσεις τους για τελειότητα. Φυσικά, οι άψογες συνθέσεις δεν περιορίζονται και δεν εξαντλούνται από το πρώτο κιόλας κομμάτι. Τα "In Her House", "Christmas in A Cunthouse" αποτυπώνουν ενδιαφέρουσες μελωδίες και "καυστική" θεματολογία επίσης. Προς το τέλος της πρώτης πλευράς το ύφος γλυκαίνει με μια κλασική μελαγχολική μπαλάντα, το "1000 Dying Words", τραγούδι που αποπνέει νοσταλγία και που θυμίζει 70's. Κατά τη γνώμη μας στη συνέχεια υπάρχει ένα από τα καλύτερα κομμάτια του άλμπουμ, το επιβλητικό "There is Nothing We Can't Solve Together", όπου διαφαίνεται η συνθετική αλλά και εκφραστική δεινότητα του Πούγουνα αλλά και η ικανότητα του να γράφει πανέμορφους στίχους. Ακολουθεί το επικό "Kashmir" που είναι ενδεχομένως το πιο διάσημο τραγούδι τους, έχει δε φιλοξενηθεί σε συλλογές ανά τον κόσμο, και είναι από τα καλύτερα τραγούδια της gothic rock σκηνής -ένα 'all-times-classic'. Δεν υπάρχει κανένα κομμάτι που να απογοητεύει, έτσι και τα  "Picture Pillow" και "Opium" το καθένα με μοναδικό τρόπο ενισχύει την άποψη πως το "Dorian Grey" είναι ένα από τα καλύτερα άλμπουμ του είδους. Το πικρόγλυκο -ως αποχαιρετιστήριο- και αντιπολεμικό, οικολογικό "The Last Summer Night (on Earth)", κλείνει το δίσκο ως ελεγεία απαισιοδοξίας και καταστροφής αλλά και ταυτόχρονα αναγέννησης και ελπίδας.
Πρέπει εδώ να προσθέσουμε πως ένα από τα πράγματα για τα οποία ξεχωρίσαν οι F.O.R. από την αρχή είναι οι μοναδικές συνθέσεις και φυσικά τα φωνητικά του Μιχάλη που είναι γεμάτα οργή, μελαγχολία, δυναμισμό - καμμιά φορά όλα αυτά μαζί σε μια "βελούδινη" χροιά. Είναι από τις φωνές που μπορούν να τραγουδήσουν τα πάντα και αυτό το συνειδητοποιεί κανείς ακόμα και σήμερα στα live των New Zero God (το σημερινό σχήμα πολύ κοντά στον ήχο των F.O.R.). Επιπλέον, ακούγοντάς τους για πρώτη φορά θα εντοπίσετε και εσείς τις επιρροές από τους Cult, Mission αλλά και την δεκαετία του '70, αφού με άψογο και αριστοτεχνικό τρόπο αποτίουν φόρο τιμής στους T-Rex και τον Marc Bolan με τη διασκευή στο "Children of the Revolution" θέλοντας ίσως να δώσουν και το 'στίγμα' τους με ένα παλιό καλό επαναστατικό κάλεσμα. Ιδού λοιπόν ένα άλμπουμ που παραμένει νέο μετά από 22 χρόνια. Απολαύστε!!!







Gothic rock era:1990-1998

In 1992, The Flowers Of Romance capitalized on their cult success with the release of the Love Means Death EP and The Flowers Of Romance…The Story So Far. During the recording of the Love Means Death EP, the Flowers Of Romance membership again changed as guitarist Dimitris Beis replaced Plato Papadimitriou and Achileas Geromoshos. Following the release of Love Means Death, Harry Stavrakas returned to the band full-time and replace Teo Botinis.
1992 also saw the release of The Flowers Of Romance…The Story So Far. Primarily a compilation of previously unreleased material, it was a tape released solely within the U.K., adding to The Flowers Of Romance’s string of internationally released music. The November 1993 release of The Flowers Of Romance’s The Pleasure and the Pain LP revealed the band’s versatility; this new album showcased a style more in line with gothic rock and featured Mike Pougounas on the keyboards as well as the vocals. The 7’’ single The Pleasure and the Pain/Winter Waltz was released prior to the arrival of the new album, with “Winter Waltz” becoming one of the band’s most acclaimed songs since “Love Means Death”. Whereas the Greek release of The Pleasure and the Pain LP was vinyl, the German edition was in CD form and featured four bonus tracks, including “Island on the Moon.” The Pleasure and the Pain was another success for The Flowers Of Romance, but following production of the album, the band underwent changes in membership: drummer Michalis Tzavaras and guitarist Dimitris Beis left the band and were replaced by Dimitris Koukas and guitar player Aggelos Kakouratos, though Kakouratos only stayed with the band for a few months, with Averkios Hadjiandoniadis replacing him.








Mike Pougounas and The Mission frontman Wayne Hussey met in 1995, and by this time The Flowers Of Romance were already amidst the pre-production of their next album, Brilliant Mistakes. Wayne Hussey’s keen interest in The Flowers Of Romance resulted in a full collaboration. In addition to producing the album and allowing the band to record in The Mission’s Bristol studio, Wayne Hussey collaborated on several songs and was able to introduce The Flowers Of Romance to a broader media market. Brilliant Mistakes was released in late 1996 and became The Flowers Of Romance’s greatest success, with the tracks “Channel Z” and “In a Vacant Place” reaching No. 5 and No. 12 respectively on the Greek music charts. In 1997, Brilliant Mistakes had limited release in the US and UK, as well as release in Germany under the Hyperium record label.









Split

Although The Flowers Of Romance were planning a full European tour, managers of the band moved slowly in finding promoters for it.[3] Though a breakup was never officially announced, mounting personal problems within the band caused frontman Mike Pougounas to leave the band. He founded the industrial band Nexus in 1998, and session guitarist Strouggaris decided to follow his footsteps and join Nexus. In March 2000, Pougounas founded the Cyberdelia Record Label.





Discography

  • 1990 - DORIAN GREY (Vinyl Only – Released in Greece)
  • 1992 - 12" EP LOVE MEANS DEATH (Released only in Greece)
  • 1993 - 7" PLEASURE & THE PAIN / WINTER WALTZ (Released only in Greece)
  • 1993 - PLEASURE & THE PAIN (Vinyl Release in Greece / CD with four bonus tracks in [Germany])
  • 1996 - BRILLIANT MISTAKES (CD Release - Greece and Germany)
  • 1997 - CD SINGLE CHANNEL Z (Released only in Germany)

See also


References

  1. ^ Mercer, Mick (1997)Hex Files: The Goth Bible. Overlook Press; 1 Amer ed edition. ISBN 0-87951-783-2 (Pg. 51)
  2. ^ The Flowers Of Romance: Dorian Grey (2009.)(http://tribe4mian.wordpress.com/2008/11/26/the-flowers-of-romance-dorian-grey/)
  3. ^ Tribe4mian: Brilliant Mistakes (2009.)(http://tribe4mian.wordpress.com/2009/05/18/the-flowers-of-romance-brilliant-mistakes/)

Η ΙΣΤΟΡΙΑ ΟΜΩΣ ΔΕΝ ΤΕΛΕΙΩΝΕΙ ΕΔΩ.

ΣΥΝΕΧΙΖΕΤΑΙ ΜΕ ΤΟΥΣ ΝΕΧUS ΚΑΙ ΜΕ ΤΟΥΣ NEW ZERO GOD

ΣΕ ΕΠΟΜΕΝΟ ΑΡΘΡΟ... 


ΑΝ ΑΚΟΥΩ ΣΗΜΕΡΑ ΜΟΥΣΙΚΗ, ΤΟ ΧΡΩΣΤΩ ΣΕ ΑΥΤΟΥΣ...

ΕΝΑΣ ΜΙΚΡΟΣ ΦΟΡΟΣ ΤΙΜΗΣ ΑΦΙΕΡΩΜΕΝΟΣ ΣΤΟ ΜΙΧΑΛΗ ΠΟΥΓΟΥΝΑ





Τετάρτη, 10 Οκτωβρίου 2012

Max Roach - Ο ντράμερ




Max Roach
From Wikipedia, the free encyclopedia
Maxwell Lemuel "Max" Roach (January 10, 1924 – August 16, 2007) was an American jazz percussionistdrummer, and composer.
A pioneer of  bebop, Roach went on to work in many other styles of music, and is generally considered alongside the most important drummers in history.[1][2] He worked with many famous jazz musicians, including Coleman HawkinsDizzy GillespieCharlie ParkerMiles DavisDuke EllingtonThelonious MonkCharles MingusBilly EckstineStan GetzSonny RollinsClifford BrownEric Dolphy and Booker Little.
Roach also led his own groups, and made numerous musical statements relating to the civil rights movement of African Americans.

Biography

Early life and career

Roach was born in the Township of NewlandPasquotank CountyNorth Carolina, which borders the southern edge of the Great Dismal Swamp, to Alphonse and Cressie Roach. Many confuse this with Newland Town in Avery County. Although Roach's birth certificate lists his date of birth as January 10, 1924,[3] Roach has been quoted by Phil Schaap as having stated that his family believed he was born on January 8, 1925. Roach's family moved to the Bedford-Stuyvesantneighborhood of BrooklynNew York when he was 4 years old. He grew up in a musical home, his mother being a gospel singer. He started to play bugle in parade orchestras at a young age. At the age of 10, he was already playing drums in some gospel bands. As an eighteen year-old fresh out of Boys High School in Brooklyn, (1942) he was called to fill in for Sonny Greer, and play with the Duke Ellington Orchestra performing at the Paramount Theater.
In 1942, Roach started to go out in the jazz clubs of the 52nd Street and at 78th Street & Broadway for Georgie Jay's Taproom (playing with schoolmate Cecil Payne).[4]
Roach's most significant innovations came in the 1940s, when he and jazz drummer Kenny Clarke devised a new concept of musical time. By playing the beat-by-beat pulse of standard 4/4 time on the "ride" cymbal instead of on the thudding bass drum, Roach and Clarke developed a flexible, flowing rhythmic pattern that allowed soloists to play freely. The new approach also left space for the drummer to insert dramatic accents on the snare drum, "crash" cymbal and other components of the trap set.
By matching his rhythmic attack with a tune's melody, Roach brought a newfound subtlety of expression to his instrument. He often shifted the dynamic emphasis from one part of his drum kit to another within a single phrase, creating a sense of tonal color and rhythmic surprise.[1] The idea was to shatter musical conventions and take full advantage of the drummer's unique position. "In no other society", Roach once observed, "do they have one person play with all four limbs."[5]
While that approach is common today, when Clarke and Roach introduced the new style in the 1940s it was a revolutionary musical advance.





"When Max Roach's first records with Charlie Parker were released by Savoy in 1945," jazz historian Burt Korall wrote in the Oxford Companion to Jazz, "drummers experienced awe and puzzlement and even fear." One of those awed drummers, Stan Levey, summed up Roach's importance: "I came to realize that, because of him, drumming no longer was just time, it was music."[1]
He was one of the first drummers (along with Kenny Clarke) to play in the bebop style, and performed in bands led by Dizzy GillespieCharlie ParkerThelonious MonkColeman HawkinsBud Powell, and Miles Davis. Roach played on many of Parker's most important records, including the Savoy November 1945 session, a turning point in recorded jazz.

Roach studied classical percussion at the Manhattan School of Music from 1950–53, working toward a Bachelor of Music degree (the School was to award him an Honorary Doctorate in 1990).
In 1952, Roach co-founded Debut Records with bassist Charles Mingus. This label released a record of a May 15, 1953 concert, billed as 'the greatest concert ever', which came to be known as Jazz at Massey Hall, featuring Charlie Parker, Dizzy Gillespie, Bud Powell, Mingus and Roach. Also released on this label was the groundbreaking bass-and-drum free improvisation, Percussion Discussion.[6]




In 1954, he formed a quintet featuring trumpeter Clifford Brown, tenor saxophonist Harold Land, pianist Richie Powell (brother of Bud Powell), and bassist George Morrow, though Land left the following year and Sonny Rollins soon replaced him. The group was a prime example of the hard bop style also played by Art Blakeyand Horace Silver. Tragically, this group was to be short-lived; Brown and Powell were killed in a car accident on the Pennsylvania Turnpike in June 1956. The first album Roach recorded after their deaths was Max Roach + 4.



After Brown and Powell's deaths, Roach continued leading a similarly configured group, with Kenny Dorham (and later the short-lived Booker Little) on trumpet, George Coleman on tenor and pianist Ray Bryant. Roach expanded the standard form of hard-bop using 3/4 waltz rhythms and modality in 1957 with his album Jazz in 3/4 time.



During this period, Roach recorded a series of other albums for the EmArcy label featuring the brothers Stanley and Tommy Turrentine.[7]
In 1955, he was the drummer for vocalist Dinah Washington at several live appearances and recordings. Appearing at the Newport Jazz Festival with her in 1958 which was filmed and the 1954 live studio audience recording of Dinah Jams, considered to be one of the best and most overlooked vocal jazz albums of its genre.[8]

1960s-1970s

In 1960 he composed the We Insist! his Freedom Now Suite with lyrics by Oscar Brown Jr., after being invited to contribute to commemorations of the hundredth anniversary of Abraham Lincoln'sEmancipation Proclamation. In 1962, he recorded the album Money Jungle, a collaboration with Mingus and Duke Ellington. This is generally regarded as one of the very finest trio albums ever made.[9]



In 1966, with his album Drums Unlimited (which includes several tracks that are entirely drums solos) he demonstrated that drums can be a solo instrument able to play theme, variations, rhythmically cohesive phrases. He described his approach to music as "the creation of organized sound."[10]




During the 1970s, Roach formed a musical organization—"M'Boom"—a percussion orchestra. Each member of this unit composed for it and performed on many percussion instruments. Personnel included Fred King, Joe ChambersWarren SmithFreddie WaitsRoy Brooks, Omar Clay, Ray Mantilla, Francisco Mora, and Eli Fountain.[10]



1980s-1990s

In the early 1980s, he began presenting entire concerts solo, proving that this multi-percussion instrument could fulfill the demands of solo performance and be entirely satisfying to an audience. He created memorable compositions in these solo concerts; a solo record was released by Baystate, a Japanese label, just about impossible to obtain. One of these solo concerts is available on video, which also includes a filming of a recording date for "Chattahoochee Red," featuring his working quartet, Odean PopeCecil Bridgewater and Calvin Hill.
He embarked on a series of duet recordings. Departing from the style of presentation he was best known for, most of the music on these recordings is free improvisation, created with the avant-garde musicians Cecil TaylorAnthony BraxtonArchie Shepp, and Abdullah Ibrahim.






He created duets with other performers: a recorded duet with the oration by Martin Luther King, "I Have a Dream"; a duet with video artist Kit Fitzgerald, who improvised video imagery while Roach spontaneously created the music; a classic duet with his lifelong friend and associate Dizzy Gillespie; a duet concert recording with Mal Waldron.
He wrote music for theater, such as plays written by Sam Shepard, presented at La Mama E.T.C. in New York City.
He found new contexts for presentation, creating unique musical ensembles. One of these groups was "The Double Quartet." It featured his regular performing quartet, with personnel as above, except Tyrone Brown replacing Hill; this quartet joined with "The Uptown String Quartet," led by his daughter Maxine Roach, featuring Diane Monroe, Lesa Terry and Eileen Folson.




Another ensemble was the "So What Brass Quintet," a group comprising five brass instrumentalists and Roach, no chordal instrument, no bass player. Much of the performance consisted of drums and horn duets. The ensemble consisted of two trumpets, trombone, French horn and tuba. Musicians included Cecil Bridgewater, Frank Gordon, Eddie Henderson, Rod McGaha, Steve TurreDelfeayo MarsalisRobert Stewart, Tony Underwood, Marshall Sealy, Mark Taylor and Dennis Jeter.
Roach presented his music with orchestras and gospel choruses. He performed a concerto with the Boston Symphony Orchestra. He wrote for and performed with the Walter White gospel choir and the John Motley Singers. Roach performed with dancers: the Alvin Ailey American Dance Theater, the Dianne McIntyre Dance Company, the Bill T. Jones/Arnie Zane Dance Company.
Roach surprised his fans by performing in a hip hop concert, featuring the artist-rapper Fab Five Freddy and the New York Break Dancers. He expressed the insight that there was a strong kinship between the outpouring of expression of these young black artists and the art he had pursued all his life.[11]





Not content to expand on the musical territory he had already become known for, Roach spent the decades of the 1980s and 1990s continually finding new forms of musical expression and presentation. Though he ventured into new territory during a lifetime of innovation, he kept his contact with his musical point of origin. He performed with the Beijing Trio, with pianist Jon Jang and erhu player Jeibing Chen. His last recording, Friendship, was with trumpet master Clark Terry, the two long-standing friends in duet and quartet. His last performance was at the 50th anniversary celebration of the original Massey Hall concert, in Toronto, where he performed solo on the hi-hat.[12]
In 1994, Roach also appeared on Rush drummer Neil Peart's Burning For Buddy performing "The Drum Also Waltzes", Part 1 and 2 on Volume 1 of the Volume 2 series during the 1994 All-Star recording sessions.[13]

Death

Max Roach died in the early morning on August 16, 2007 in Manhattan.[14] He was survived by five children: sons Daryl and Raoul, and daughters Maxine, Ayo and Dara. Over 1,900 people attended his funeral at Riverside Church in Manhattan, New York City on August 24, 2007. Max Roach was interred at the Woodlawn CemeteryBronxNY.
In a funeral tribute to Roach, then-Lieutenant Governor of New York David Paterson compared the musician's courage to that of Paul RobesonHarriet Tubman and Malcolm X, saying that "No one ever wrote a bad thing about Max Roach's music or his aura until 1960, when he and Charlie Mingusprotested the practices of the Newport Jazz Festival."[15]
[edit]Personal life
Two children, son Daryl Keith and daughter Maxine, were born from his first marriage with Mildred Roach. In 1956 he met singer Barbara Jai (Johnson) and fathered another son, Raoul Jordu. He continued to play as a freelance while studying composition at the Manhattan School of Music. He graduated in 1952. During the period 1962–1970, Roach was married to the singer Abbey Lincoln, who had performed on several of Roach's albums. Twin daughters, Ayodele Nieyela and Dara Rashida, were later born to Roach and his third wife, Janus Adams Roach. He has four grandchildren: Kyle Maxwell Roach, Kadar Elijah Roach, Maxe Samiko Hinds, and Skye Sophia Sheffield. Long involved in jazz education, in 1972 he joined the faculty of the University of Massachusetts Amherst in Amherst. In the early 2000s, Roach became less active from the onset of hydrocephalus-related complications.
From the 1970s through the mid-1990s Roach taught at the University of Massachusetts Amherst.[16]

Honors

He was given a MacArthur Foundation "genius" grant in 1988, cited as a Commander of the Order of Arts and Letters in France (1989),[17] twice awarded the French Grand Prix du Disque, elected to the International Percussive Art Society's Hall of Fame and the Downbeat Magazine Hall of Fame, awarded Harvard Jazz Master, celebrated by Aaron Davis Hall, given eight honorary doctorate degrees, including degrees awarded by Medgar Evers CollegeCUNY, the University of Bologna, Italy and Columbia University.[18] While spending the later years of his life at the Mill Basin Sunrise assisted living home, in Brooklyn, Max was honored with a proclamation honoring his musical achievements by Brooklyn borough president Marty Markowitz.[19]
In 1986 the London borough of Lambeth named a park in Brixton after him.[20][21] - Roach was able to officially open it when he visited the UK that year.
Roach was inducted into the North Carolina Music Hall of Fame in 2009.[22]

Discography

As leader

With M'Boom
  • 1973 : Re: Percussion (Strata-East Records)
  • 1979 : M'Boom (Columbia)
  • 1984 : Collage (Soul Note)
  • 1992 : Live at S.O.B.'s New York (Blue Moon Records)
[edit]As sideman
With Don Byas
  • Savoy Jam Party (1946)
With Al Cohn
  • Cohn's Tones (1953)
  • New Piano Expressions (1955)
  • The Metronome All Stars (1953)
With Stan Getz
  • Opus BeBop (1946)
  • Drum Suite (1962)
  • Rainbow Mist (1944)
  • Coleman Hawkins and His All Stars (1944)
  • The Hawk Flies (1946)
  • Mambo Jazz (1953)
  • Mad Be Bop (1946)
  • First Place (1957)
With Thad Jones
  • The McGhee-Navarro Sextet (1950)
With Gil Melle
  • New Faces, New Sounds (Blue Note, 1952)
  • Town Hall, New York, June 22, 1945 (1945) - with Dizzy Gillespie
  • The Complete Savoy Studio Recordings (1945-48)
  • Lullaby in Rhythm (1947)
  • Charlie Parker on Dial (Dial, 1947)
  • The Band that Never Was (1948)
  • Bird on 52nd Street (1948)
  • Bird at the Roost (1948)
  • Charlie Parker – Complete Sessions on Verve (Verve, 1949-53)
  • Charlie Parker in France (1949)
  • Live at Rockland Palace (1952)
  • Yardbird: DC-53 (1953)
With Bud Powell
  • Relaxed Piano Moods (1955)
  • Genesis (1949)
  • Stan 'The Man' Turrentine (1960)
  • Tommy Turrentine (1960)
  • The George Wallington Trip and Septet (1951)
With Joe Wilder
  • The Music of George Gershwin: I Sing of Thee (1956)
With Various Artists
  • The Stars of Modern Jazz at Carnegie Hall'(1949)
  • Newport in New York ‘72 (1972) - Roach on 2 tracks only
[edit]References
  1. a b c Schudel, Matt (August 16, 2007). "Jazz Musician Max Roach Dies at 83"The Washington Post. Retrieved May 12, 2010.
  2. ^ Up for Discussion Jump to Forums (1924-01-10). "Legendary Jazz Drummer Max Roach Dies At 83". Billboard.com. Retrieved 2011-03-21.
  3. ^ MADISON magazine: Max Roach and James Woods[dead link]
  4. ^ Roach's account of Georgie Jay's Taproom, excerpted from Swing to Bop: An Oral History of the Transition in Jazz in the 1940s, page 77. Books.google.com. Retrieved 2011-03-21.
  5. ^ The Week August 31, 2007 page 32.
  6. ^ "www.historyexplorer.net "History Explorer > Jazz History Timeline > 1952 - 1961"". Historyexplorer.net. Retrieved 2011-03-21.
  7. ^ "www.jazzitude.com "History of Jazz Part 6: Hard Bop"". Jazzitude.com. 2007-04-11. Retrieved 2011-03-21.
  8. ^ "Hipjazz.com "Joy Spring"". Hipjazz.com. Retrieved 2011-10-26.
  9. ^ www.inkblotmagazine.com "Duke Ellington Money Jungle Blue Note, Recorded 1962"[dead link]
  10. a b "Max Roach Biography". www.allaboutjazz.com. Retrieved 2008-04-23.
  11. ^ Up for Discussion Jump to Forums (1924-01-10). "www.billboard.com "Legendary Jazz Drummer Max Roach Dies At 83"". Billboard.com. Retrieved 2011-03-21.
  12. ^ "Friendship". Allaboutjazz.com. 2003-07-25. Retrieved 2011-03-21.
  13. ^ "www.beachwoodreporter.com "The Friday Papers"". Beachwoodreporter.com. 2007-08-27. Retrieved 2011-03-21.
  14. ^ Keepnews, Peter (August 16, 2007). "Max Roach, Master of Modern Jazz, Dies at 83". New York Times. Retrieved 2007-08-17. "Max Roach, a founder of modern jazz who rewrote the rules of drumming in the 1940s and spent the rest of his career breaking musical barriers and defying listeners’ expectations, died early yesterday in Manhattan. He was 83."
  15. ^ Paterson, David (2008-03-13). "David Paterson Invokes Paul Robeson, Harriet Tubman, Malcolm X in Remembrance of Jazz Legend Max Roach (Eulogy transcript)"Democracy Now. Retrieved 2008-03-18.
  16. ^ Palpini, Kristin (17 August 2007). Jazz great, UMass prof Max Roach dies. United States: Amherst Bulletin
  17. ^ Video: medals ceremony From Ina (French).
  18. ^ "University to Award 8 Honorary Degrees at Graduation on May 16"Columbia University Record. April 9, 2001. Retrieved 2007-08-16.
  19. ^ "Brooklyn Borough President". Brooklyn-usa.org. Retrieved 2011-03-21.
  20. ^ "Max Roach Park". Allaboutjazz.com. 2006-10-28. Retrieved 2011-03-21.
  21. ^ "London Borough of Lambeth | Max Roach Park". Lambeth.gov.uk. Retrieved 2011-03-21.
  22. ^ "2009 Inductees". North Carolina Music Hall of Fame. Retrieved September 10, 2012.
[edit]External links



ΑΦΙΕΡΩΜΑ ΣΤΟΝ MAX ROACH (THE STORY)