"In 1956, trumpeter Thad Jones was making his way forward as a leader and apart from his important role with the Count Basie Orchestra, having recorded for some smaller labels. But this release for Blue Note most firmly established him as one of the premier musicians and composers in modern jazz; it's titled "Magnificent" for many great reasons. There are several precedents set here; the initial foray out of Detroit for the young pianist and fellow Michiganian Barry Harris, the identifying of a personalized small group, as well as individual sound of Jones, and his ability to easily bring great jazz icons together as a team. With Detroit's Billy Mitchell on tenor sax, Percy Heath's bass, and stellar drummer Max Roach, this quintet makes truly great jazz music together. The musicianship being at such a lofty plateau, so intelligently selected and executed, this CD is generally regarded as the very best work of Jones, later big-band recordings with Mel Lewis notwithstanding. " (Michael G. Nastos, Allmusic)
Vier albums uit 1953 en 1954 op twee CD's. Die albums zijn op zichzelf weer samengesteld uit diverse sessies uit die periode, waardoor er een woud aan legendarische muzikanten op dit album te vinden is, waartegenover staat dat er ook uiterst transparante solo- en trio-sessies op te vinden zijn. Alle vier de albums werden en worden hoog gewaardeerd door critici. Vooral "Brilliant Corners" werd een absoluut eikpunt in de jazzhistorie.
"Dizzy Gillespie was at the peak of his powers throughout the '50s, still the pacesetter among trumpeters. This album matches Dizzy with Stan Getz, the Oscar Peterson Trio and drummer Max Roach. Getz, although identified with the "cool" school, thrived on competition and is both relaxed and combative on the up-tempo explorations of "It Don't Mean a Thing" and "Impromptu."" (Scott Yanow, Allmusic)
"The 1960-version of the trio consists of bassist George Duvivier and the drum-phenomena Max Roach. Together they form an organic unity that allows Clark's musicality to shine in a perfect setting. The thing that is immediately noticeable about Clark is the clarity and playfulness of his lines combined with emotional depth and a wide register of rhythms and harmonies. Clark simply makes the piano sing. This is evident from the beginning on "Minor Meeting," one of eight tunes on an album consisting of all originals, and what sparkling music it is. The possibility of hearing two alternate takes of "Minor Meeting" shows that Clark was in the zone every time. Music simply poured out of him and Roach, whether he plays with dancing sticks or shuffling brushes, follows him every step of the way in the deep pocket-groove of Duvivier." (allaboutjazz.com)
"Max Roach's post-Clifford Brown ensembles became more experimental down the road, but this 1960 band, with the brothers Tommy and Stanley Turrentine, and Julian Priester, was short-lived, very satisfying, and one of the most memorable combos the drummer led. Continuing to concentrate on hard bop themes, the band is hardly quiet as the title would suggest. It perhaps could be said that this band was a sleeper in not being as recognized as the superior collective talent would indicate. Perhaps the obscure bassist Bob Boswell has something to do with it, or that the front line would find their niches in jazz well past their membership in this fine combo. Of course Roach's drumming is far beyond reproach, but it is his choice of material and their composers that have to strike even the most literate jazz head as quite daring." (Michael G. Nastos, Allmusic; 3,5 uit 5 sterren)
Heruitgave uit 2005 van opnamen uit 1954. "Clifford Brown's death in a car accident in 1956, at the age of 25, was one of the great tragedies in jazz history. Already ranking with Dizzy Gillespie and Miles Davis as one of the top trumpeters in jazz, Brownie was still improving in 1956. In 1954 he had formed a quintet with Max Roach. Considered one of the premiere hard bop bands, the group lasted until Brown's death, featuring Harold Land on tenor sax and recording several superb sets for Emarcy. This second EmArcy album by the quintet (music that has been reissued in full on a massive ten-CD set), was recorded in august 1954 and has quite a few memorable performances, particularly a colorful rendition of "Parisian Thoroughfare," definitive versions of Brownie's compositions "Joy Spring" and "Daahoud" and a heated "Blues Walk." This set (which is essential in one form or another) is a classic." (Scott Yanow, Allmusic)
"This was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant. 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 with her thespian-based wordless vocals, and Oscar Brown's lyrics 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." (Michael G. Nastos, Allmusic) NB: voor deze CD-versie is duidelijk een LP als master gebruikt.
"This set has the earliest documented performances of the Clifford Brown/Max Roach Quintet. Trumpeter Brown and drummer Roach, along with tenor-saxophonist Teddy Edwards, pianist Carl Perkins and bassist George Bledsoe, perform four numbers including hot versions of "All God's Chillun Got Rhythm" and Edwards's "Sunset Eyes." In addition there is a later set with the permanent lineup of the Quintet: Brown, Roach, tenorman Harold Land, pianist Richie Powell and bassist George Morrow. Together they play "Jordu," Brown's feature on "I Can't Get Started" and versions of "I Get a Kick Out of You" and "Parisian Thoroughfare" that are both heated and colorful. This is a very rewarding and somewhat historic release of high-quality straightahead jazz from one of the great hard bop bands." (Scott Yanow, Allmusic)
"Duke Ellington surprised the jazz world in 1962 with his historic trio session featuring Charles Mingus and Max Roach. Not in a mood to simply rework older compositions, the bulk of the album focused on music he wrote specifically for the session. "Money Jungle" is a thunderous opener, a blues that might be classified somewhere between post-bop and avant-garde. The gem of the date is the fragile, somewhat haunting ballad "Fleurette Africaine," where Mingus' floating bassline and Roach's understated drumming add to the mystique of an Ellington work that has slowly been gathering steam among jazz musicians as a piece worth exploring more often. "Very Special" is a jaunty upbeat blues, while the angular, descending line of "Wig Wise" also proves to be catchy. Ellington also revisits "Warm Valley" (a lovely ballad associated with Johnny Hodges) and an almost meditative "Solitude." Thunderous percussion and wild basslines complement a wilder-than-usual approach to "Caravan." Sensational." (Ken Dryden, Allmusic)
Live-album, opgenomen in 1960 in Kaiserslautern. 'Although the playing of The Turrentines is not at the same innovative level as Roach's prior group with Booker Little and George Coleman, they come up with consistently fresh statements during the well-rounded set and the tenorman was already instantly recognizable. Highlights include a couple of Roach drum features, two Kenny Dorham compositions ("Lotus Blossom," "The Villa") and "Night in Tunisia.". (Scott Yanow, Allmusic).
"Superb album. Met George Coleman, de beste saxofonist waar Roach ooit mee gewerkt heeft: krachtig, harmonisch exact en vol van finesse. Verder met de prima spelende Ray Draper (tba), Art Davis (b) en een excellerende Booker Little (t)" (PJG)
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