Max Roach-Hassan Ibn Ali: Din-Ka Street
The Max Roach Trio, Featuring the Legendary Hasaan
The Max Roach Trio, Featuring the Legendary Hasaan/Drums Unlimited (Collectables CD-6256)
Recorded: New York, December 4, 1964
Rating: 100/100 (learn more)
Jason Moran brought The Max Roach Trio Featuring the Legendary Hassan to my attention, and it really speaks to me---one of my favorite records, period. The whole record is a departure from traditional piano trio playing I’ve heard up to late 1964, when that was recorded. It isn’t the piano player solos, and then the drummer and bass player are in support mode, like the Oscar Peterson Trio, or any other trio. Everybody is soloing almost at the same time, or collectively, in the sense of New Orleans collective improvisation. That’s the historical reference I draw from it. Max never just plays the swing pattern and comps for Hassan while he takes a solo. They’re always back and forth, a true conversation. Everybody has individual responsibility as to what’s going on.
The tune starts with an arco bass thing at the beginning, he plays the melody, then a solo section. There’s no real TING, TING-TA-DING, TING-TA-DING swing going on through it. It’s referenced, it’s intimated, but it’s not really that. Max isn’t really playing the hi-hat on 2 and 4 either. There’s no regimented feel throughout the course of the piece. The rhythm they're all using is pretty advanced. Hassan is playing phrases in 5 and in 7, and they’re all playing over the bar, even on the trading. It's all right on the edge. All of them are virtuosos, but they’re taking it to the apex in terms of creativity within the framework of a trio. Even Elvin Jones, as influential as he was in terms of phrasing, generally rooted everything with a 2-and-4 thing on the hi-hat. Max abandoned that in certain situations---this, as you can clearly hear, was one of them. He told me there were certain techniques you could use to play that way and still maintain the groove—the groove isn’t abandoned, but he’s still not playing 2 and 4 on the hi-hat. It’s more of a dancing feel. I’ve heard older musicians say that to drummers and to bass players, like, “Yeah, ok, we’re walking, but I want you to dance.” So everyone in the group has more freedom in approaching the rhythm.
Max also makes some ride cymbal distinctions on this tune which reference back to Kenny Clarke. In terms of the music’s evolution, I always think of Papa Jo Jones establishing that ride cymbal pattern, and then Kenny Clarke embellishing on that with techniques like “dropping bombs,” syncopating more between the bass drum and the snare drum, and also varying the ride cymbal pattern, using the ride cymbal more in terms of accents—meaning not playing four-on-the-floor all the time. On this particular cut, as on the whole recording, Max takes these ideas to another level in the phrases he’s playing in conjunction with what Hassan and Dr. Davis are playing, in the ride cymbal pattern associated with the omission of the 2-and-4 on the hi-hat. Everybody is listening hard, too, responding and reacting to each other. It’s not like anybody is just doing their own thing. There’s a true synergy. No automatic pilot.
Max changes the texture when the bass solo occurs by switching to the brushes. That takes the flow from a more interactive quality to just straight quarter notes, and changes the dynamic of the piece—more like a movement in a symphony. They’re constructing the music in a way that goes out of the framework of the regular song. From the bass solo in the introduction, to the piano rubato, to the tune, then back to the bass solo—the form is pointing forward, elongating. It’s different than the regular 32-bar or 12-bar blues that some people associate with “jazz music.”
Reviewer: Nasheet Waits