Qobuz Store wallpaper
Catégories :
Panier 0

Votre panier est vide

Max Roach - We Insist! - Freedom Now Suite

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

We Insist! - Freedom Now Suite

Max Roach featuring Abbey Lincoln, Coleman Hawkins, Olatunji

Disponible en
16-Bit CD Quality 44.1 kHz - Stereo

Musique illimitée

Écoutez cet album en haute-qualité dès maintenant dans nos applications

Démarrer ma période d'essai et lancer l'écoute de cet album

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Souscrire

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Téléchargement digital

Choisissez la qualité audio : 

Pour bénéficier de ce tarif, abonnez-vous à Sublime+

Langue disponible : anglais

We Insist! Max Roach's Freedom Now Suite, co-authored by Max Roach and Oscar Brown, Jr., was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant in its message and tenacity. It represents a lesson in living as to how the hundreds of years prior were an unnecessary example of how oppression kept slaves and immigrants in general in their place. Vocalist Abbey Lincoln expresses this oppression as effectively as anyone could with her thespian-based wordless vocals, and lyrics written by Brown that tell the grim story of the struggle of African-American for far too long. Musically, Roach assembled one of the greatest bands, from his own emerging ensemble with trombonist Julian Priester and trumpeter Booker Little, to the legendary Coleman Hawkins and lesser-known, underappreciated tenor saxophonist Walter Benton. Percussionists Ray Mantilla and Michael Olatunji gave the poetic pieces sung by Lincoln enough substance and spice to also refer to Afro-Cuban and South American prejudice and urgency for change. Hawkins is particularly impressive, as his emotional range during the deep and dour, 5/4 slave song "Driva' Man" clearly feeds off of Lincoln's blues singing about quittin' time. "Triptych; Prayer/Peace/Protest" is the magnum opus of the set, introduced by Roach's signature drum moves, an eerie operatic vocal or oppressed angst yelling from Lincoln, and a 5/4 beat from the percussionist against a calmer vocal component, all written for interpretive dance. Of the modern jazz that Roach is renowned for, the horns jump into furious hard bop with solos from Little, Benton, and Priester on "Freedom Day" after Lincoln quietly invites you to "whisper/listen," while the obscure bassist James Schenck leads in 6/8 and 5/4 ostinato over Lincoln's sustained tones on "Tears for Johannesburg," with the layered horns in and out of well-wrought harmonies, and another triad of instrumental solos. "All Africa" sports lyrics about being on the beach, or maybe the beach head in the battle for freedom, as chants of tribal names echo similar village beats. This is a pivotal work in the discography of Roach and African-American music in general, its importance growing in relevance and timely, postured, real emotional output. Every modern man, woman, and child could learn exponentially listening to this recording -- a hallmark for living life.
© Michael G. Nastos /TiVo

Plus d'informations

We Insist! - Freedom Now Suite

Max Roach

launch qobuz app J'ai déjà téléchargé Qobuz pour Mac OS Ouvrir

download qobuz app Je n'ai pas encore téléchargé Qobuz pour Mac OS Télécharger l'app

Copier le lien pour partager la page

Vous êtes actuellement en train d’écouter des extraits.

Écoutez plus de 60 millions de titres avec votre abonnement illimité.

Écoutez cet album et plus de 60 millions de titres avec votre abonnement illimité.

1
Driva'man
Abbey Lincoln
00:05:18

Abbey Lincoln, FeaturedArtist - Max Roach, MainArtist

(C) 1989 Candid Productions Ltd (P) 1989 Candid Productions Ltd

2
Freedom Day
Abbey Lincoln
00:06:09

Abbey Lincoln, FeaturedArtist - Max Roach, MainArtist

(C) 1989 Candid Productions Ltd (P) 1989 Candid Productions Ltd

3
Triptych: Prayer / Protest / Peace
Abbey Lincoln
00:08:10

Abbey Lincoln, FeaturedArtist - Max Roach, MainArtist

(C) 1989 Candid Productions Ltd (P) 1989 Candid Productions Ltd

4
All Africa
Abbey Lincoln
00:08:02

Abbey Lincoln, FeaturedArtist - Max Roach, MainArtist

(C) 1989 Candid Productions Ltd (P) 1989 Candid Productions Ltd

5
Tears For Johannesburg
Abbey Lincoln
00:09:42

Abbey Lincoln, FeaturedArtist - Max Roach, MainArtist

(C) 1989 Candid Productions Ltd (P) 1989 Candid Productions Ltd

Descriptif de l'album

We Insist! Max Roach's Freedom Now Suite, co-authored by Max Roach and Oscar Brown, Jr., was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant in its message and tenacity. It represents a lesson in living as to how the hundreds of years prior were an unnecessary example of how oppression kept slaves and immigrants in general in their place. Vocalist Abbey Lincoln expresses this oppression as effectively as anyone could with her thespian-based wordless vocals, and lyrics written by Brown that tell the grim story of the struggle of African-American for far too long. Musically, Roach assembled one of the greatest bands, from his own emerging ensemble with trombonist Julian Priester and trumpeter Booker Little, to the legendary Coleman Hawkins and lesser-known, underappreciated tenor saxophonist Walter Benton. Percussionists Ray Mantilla and Michael Olatunji gave the poetic pieces sung by Lincoln enough substance and spice to also refer to Afro-Cuban and South American prejudice and urgency for change. Hawkins is particularly impressive, as his emotional range during the deep and dour, 5/4 slave song "Driva' Man" clearly feeds off of Lincoln's blues singing about quittin' time. "Triptych; Prayer/Peace/Protest" is the magnum opus of the set, introduced by Roach's signature drum moves, an eerie operatic vocal or oppressed angst yelling from Lincoln, and a 5/4 beat from the percussionist against a calmer vocal component, all written for interpretive dance. Of the modern jazz that Roach is renowned for, the horns jump into furious hard bop with solos from Little, Benton, and Priester on "Freedom Day" after Lincoln quietly invites you to "whisper/listen," while the obscure bassist James Schenck leads in 6/8 and 5/4 ostinato over Lincoln's sustained tones on "Tears for Johannesburg," with the layered horns in and out of well-wrought harmonies, and another triad of instrumental solos. "All Africa" sports lyrics about being on the beach, or maybe the beach head in the battle for freedom, as chants of tribal names echo similar village beats. This is a pivotal work in the discography of Roach and African-American music in general, its importance growing in relevance and timely, postured, real emotional output. Every modern man, woman, and child could learn exponentially listening to this recording -- a hallmark for living life.
© Michael G. Nastos /TiVo

À propos

Distinctions :

Améliorer cette page album

Qobuz logo Pourquoi acheter sur Qobuz ?

Les promotions du moment...
Blue Train John Coltrane
A Love Supreme John Coltrane
Chopin : Piano Concertos Benjamin Grosvenor
À découvrir également
Par Max Roach

Playlists

Dans la même thématique...
Les Grands Angles...
ECM en 10 albums

Le plus beau son après le silence. C’est la formule qui colle à la peau d’ECM depuis cinquante ans et la sortie du séminal « Free at Last » du Mal Waldron Trio, en novembre 1969. Manfred Eicher, le charismatique fondateur du label munichois, ne vit pas « hors du temps » mais plus précisément dans « un temps parallèle » à celui de la société, faisant d’ECM une planète de toute beauté où le jazz résonne autrement. Et c’est souvent pour ECM que Keith Jarrett, Charles Lloyd, Jan Garbarek, Chick Corea et tant d’autres ont enregistré leurs disques les plus intenses. Plus encore que pour Blue Note ou Impulse!, se limiter à 10 albums pour raconter toute l’histoire de ce label hors-norme est mission impossible. Aussi, les 10 sélectionnés raconteront « une » histoire d’ECM.

Norah Jones en 10 chansons

Même si ses albums paraissent sur le label Blue Note, Norah Jones n’a jamais été vraiment jazz. Comme elle n’a jamais vraiment été pop, ni folk, country ou soul… Depuis le début des années 2000, la chanteuse et pianiste américaine a toujours tout fait pour flouter, voire éradiquer, les frontières stylistiques au profit de sa propre musique apatride, qu’elle adore partager avec d’autres musiciens venus d’horizons divers. Petit tour de son monde en 10 titres.

Le quartet américain de Keith Jarrett

Au début de sa dense carrière, Keith Jarrett passa sept années à expérimenter comme jamais à la tête de son quartet américain. Avec Charlie Haden, Paul Motian et Dewey Redman, le pianiste dirigera, entre 1971 et 1976, une sorte de laboratoire fou dans lequel se caramboleront hard bop, free-jazz, world et avant-garde. Une parenthèse spontanée à redécouvrir.

Dans l'actualité...