Originally written in 2003, DG will be releasing a new edition to celebrate its 15th anniversary with brand new artwork and bonus content, such as new arrangements, remixes, as well as a completely unreleased new track.
This Max Roach date is an unusual set. The outing featured the drummer's all-star sextet (which consisted of trumpeter Richard Williams, tenor saxophonist Clifford Jordan, trombonist Julian Priester, pianist Mal Waldron, and bassist Art Davis) joined by a vocal choir conducted by Coleridge-Taylor Perkinson and orchestrated by Roach (who contributed all six originals). Unlike most other collaborations, the choir was not overly gospel-oriented and was utilized as a sort of jazz ensemble. Each of the horn players has a feature or two and singer Abbey Lincoln stars on "Lonesome Lover."
Max Pommer, sometimes called one of the few remaining "Old World" conductors, first drew attention for his interpretations of the works of J.S. Bach and other Baroque composers. But since the 1980s he has explored a much broader range of repertory, taking in compositions by contemporary Finnish composers Einojuhani Rautavaara and Kalevi Aho, as well as more traditional fare by Haydn, Mozart, Schubert, Debussy, and even Weill. Pommer, more than most first – rank conductors, has devoted much of his career to teaching, as well as to conducting university ensembles
Although Max Roach was very much a product of the be-bop revolution of the 1940s, he proved to be quite receptive to modal post-bop and avant-garde jazz in the 1960s. One of the finest post-bop dates Roach recorded during that decade was 1968's Members, Don't Git Weary, which finds the drummer leading a cohesive modal quintet that employs Gary Bartz on alto sax, Charles Tolliver on trumpet, Stanley Cowell on acoustic and electric piano, and Jymie Merritt on electric bass. Despite the use of electric instruments, this isn't an album that emphasizes rock or funk elements or predicts the fusion explosion that was just around the corner – Members, Don't Git Weary is very much a straight-ahead effort, and the harmonic richness of modal playing is illustrated by such gems as Cowell's "Equipoise," Bartz's "Libra," and Merritt's "Absolutions."
In 1979 Max Roach founded M'Boom, a group consisting of eight percussionists. Their debut recording (which has been reissued on this Columbia CD) is far from being a monotonous drum battle. In fact, through the utilization of a wide range of instruments that include chimes, timbales, marimba, vibes, xylophone, tympani, various bells and steel drums, there are quite a lot of melodies to be heard during these nine performances (which are all group originals other than Thelonious Monk's "Epistrophy"). This is a particularly colorful set that is easily recommended not only to jazz and percussion fans but to followers of World music.
The three works on this album were all written by Max Bruch at the end of his life, after World War I, when he was more than 80 years old. They were not published until after his death in 1920, and then they were forgotten due to Nazi bans on Bruch's music because of his supposed Jewish ancestry, wartime manuscript loss, and the self-serving actions of modernist gatekeepers. In the world they depict, the Great War might as well never have happened, but perhaps that is part of the point.
In Nocturnes II, Max Corbacho crafts a new chapter in his series, enticing the listener to dive deeply into more than 70 minutes of atmospheric soundscaping. Expansive and meditative, these seven exclusive, new sound meditations burn slowly, like the light of a distant star, illuminating a breathing, ghostly landscape. The treatment that Corbacho gives his synthesizers, samplers and fx processors in this new album, profoundly organic and visceral, connects seamlessly with his creative trajectory. This 2018 release marks two decades since the publication of his first album in 1998…