Max Roach - We Insist - Freedom Now Suite
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ORDER LIMITED TO ONE ITEM PER CUSTOMER
Max Roach (drums) [click here to see more vinyl featuring Max Roach]
Abbey Lincoln (vocal)
Coleman Hawkins (Tenor sax) [click here to see more vinyl featuring Coleman Hawkins]
Walter Benton (tenor sax)
Booker Little (trumpet) [click here to see more vinyl featuring Booker Little]
Julian Priester (trombone)
James Schenk (bass)
Babatunde Olatunji (conga)
Thomas Du Vall (percussion)
Ray Mantilla (percussion)
1 LP, standard sleeve
Edition limited
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : Pallas
Label : Pure Pleasure Records
Original Label : Candid
Recorded at Nola Penthouse Studios, NYC, August 31st, September 6th 1960 by Bob d’Orleans
Produced by Max Roach
Remastered by Graeme Durham at The Exchange
Originally released in 1961
Reissued in 2006
Tracks :
Side A :
1. Driva Man
2. Freedom Day
2. Freedom Day
Side B :
1. Prayer
2. Protest
3. Peace
5. All Africa
6. Tears For Johannesburg
2. Protest
3. Peace
5. All Africa
6. Tears For Johannesburg
Reviews :
« 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. » AllMusic Review by Michael G. Nastos
"Based upon the diversity of music, quality of product and their extraordinary rate of progress, Pure Pleasure Records is our re-issue record company of the year." - hi-fi+
Ratings :
AllMusic : 5 / 5 , Discogs : 4.76 / 5 ,