1. Driva’ Man
3. Triptych: Prayer/ Protest/ Peace
4. All Africa
5. Tears for Johannesburg
Max Roach – Drums
Julian Priester – Trombone
Walter Benton, Coleman Hawkins – Tenor saxes
James Schenck – Bass
Michael Olatunji – Congas
Ray Mantilla, Tomas DuVall – Percussion
Lincoln - Vocals
Recording 1960, New York City
1960 there was still much racial prejudice
in the USA and demonstrations were taking
place at various universities, to bring this
injustice to the awareness of people in America
and throughout the world. It was quite an
unusual occurrence for jazz musicians to get
involved, musicians generally are too concerned
with their work to indulge in politics.
Roach, one of the most exceptional talents
on the jazz scene, composed this suite with
the assistance of Oscar Brown Jnr., and put
together an all-star cast to perform it.
sleeve note makes reference to the fact that
many African countries were breaking their
links with the colonialists. In hindsight
we can see that some did well from this, but
others went from one hell to another when
ruled by their own.
important thing of course is the music. Max
Roach along with the whole supporting group
was on fine form, and they obviously thought
that this record was important enough to give
of their best. Some of the music is more of
a jazz parody than jazz itself and, with only
35 minutes of play time, it is not great value
for money. Much of the All Africa piece is
taken up with the percussion section, which
is excellent, but it does seem a shame that
they had the likes of Booker Little and Coleman
Hawkins on hand, without them making a contribution.
Lincoln has the kind of voice required to
carry off the performance of such a suite.
Some of her later work I did not care for,
but she is very good in this setting.
the horns return for Tears for Johannesburg.
record is an interesting piece of both jazz
and political history.