Tambayi su wanene cikakken manyan jazz, za ku sami ƴan gajerun kalmomi: "Tsuntsu," "Trane," "Miles," "Dizz" ... "Roach."
Kadan ya yi yawa don jazz a matsayin nau'i na fasaha fiye da Max Roach, wanda ya mutu Agusta 16th yana da shekaru 83. Yawancin lokaci mai gandun daji shine mutumin da ba shi da suna a baya, wanda kawai ya ci gaba da bugawa yayin da "mawaƙa na gaske" ke yin ainihin aikin. . Amma Roach ya nuna wa kowa abin kunya. Mutumin kirki a cikin hakkinsa, mawaki, mai kirkire-kirkire kuma mai juyi, Roach shine wanda ya tsira daga jerin manyan jazz daga zamanin da ya canza fuskar kidan Amurka.
An haife shi a Arewacin Carolina a 1924, danginsa sun ƙaura zuwa Brooklyn lokacin yana ɗan shekara huɗu. Ba da daɗewa ba ya riga ya tabbatar da kansa wani abu na gwaninta, kuma yana da shekaru goma yana buga ganguna a cikin mawakan coci. A lokacin da shekarunsa suka cika ya yi taka-tsan-tsan tare da kungiyar makada ta Duke Ellington kuma ya halarci taron jam'i tare da Charlie Parker wanda mutane da yawa suka ce ya taimaka wajen kirkiro nau'in da aka fi sani da bebop.
Roach ya kasance "daya daga cikin mawakan Amurka na farko da suka fahimci hadadden nau'i na nau'i na Afirka" in ji abokin da ya dade kuma abokin aikin Quincy Jones. A kowane rukuni da makada da ya taka, ya zo da wannan sarkakiya tare da shi. Ƙwallonsa ya kasance yana yin “tattaunawa” kamar yadda wani marubuci ya faɗa, tare da sauran kayan kida. Mawasan jazz na baya sun yi amfani da gangunan bass don samar da kari. Roach, tare da Kenny Clarke, sun motsa shi zuwa kuge mai hawa. Wani yunkuri ne wanda ya ba da damar yanci da ingantawa ga daukacin kungiyar, kuma zai ayyana bebop da magajinsa.
Sautin Bebop, a lokacin, yana da rigima. Ba ta dogara da ƙayyadaddun ƙungiyoyin kade-kade ba amma ga ilhami na kiɗa na ƙananan ƙungiyoyi huɗu ko biyar. Count Basie sau ɗaya ana kiransa bebop "Kiɗa na Sinanci" don kamannin halayensa na rashin daidaituwa da rashin daidaituwa. Amma bebop kuma shine sake tabbatar da jazz a matsayin fasaha. Yawancin mawakan bebop a sane suna kallon kansu da alfahari a matsayin masu fasaha. A cikin Amurka da Jim Crow, ƴan sata, da talaucin birane suka mamaye, girman kai irin wannan a tsakanin baƙar fata yana da haɗari-har ma da juyin juya hali.
Don haka ba abin mamaki bane cewa yawancin masu kirkirar bebop, ciki har da Roach, an gano su tare da masu tsattsauran ra'ayi da aka bari a cikin 30s da 40s. Roach ya buga fa'idodi da yawa ga Jam'iyyar Kwaminisanci ta Amurka, wacce ta yi ƙoƙari don isa ga mawakan jazz baƙar fata.
Marigayi arba'in da farkon shekarun hamsin, yayin da bala'i ga yawancin jam'iyyar Kwaminisanci guda ɗaya, kuma ya kasance wani juyi ga jazz tare da zuwan jazz mai ƙarfi da sanyi. Roach, a cikin salon al'ada, yana can a ƙasa sifili lokacin da ya taka leda a kan gunkin taron Miles Davis na "Haihuwar Cool".
A matsayin mai kirkire-kirkire, Roach ya bukaci adadin sarrafa kerawa wanda ya kasance – kuma ba kasafai ba ne a masana’antar rikodi. Don haka shi da babban dan jazz Charles Mingus suka kafa tambarin halarta na farko a 1952 a matsayin lakabin jazz na farko da mawaƙa ke gudana.
Ba motsin kasuwanci ba ne kawai. A gare shi, ikon masu fasahar jazz akan abubuwan da suke fitarwa wani muhimmin bangare ne na gwagwarmayar neman hakkin jama'a a Bakar Amurka. Abubuwa biyu da ya yi a 1960 sun nuna bangarorin biyu na wannan. Shi da Mingus sun shirya wani biki da ke fafatawa da bikin Newport Jazz a tsibirin Rhode suna nuna rashin amincewarsu da yadda ake mu'amala da masu fasahar bakake, kuma tare da mawaki Oscar Brown da mawaki Abbey Lincoln ya tsara kuma ya rubuta "Mun nace! Freedom Now Suite."
An yi la'akari da shi daya daga cikin mafi kyawun rikodin zanga-zangar jazz, murfinsa hoton baƙar fata ne da ke zaune a Greenboro, North Carolina counters. Roach's drumming, tare da muryar Lincoln, da alama yana ɗaukar ƙarfin gwagwarmayar su. A cikin ƴan albam irin wannan za a iya samun “yanci” na jazz ɗin kyauta ya kasance daidai da ’yancin da ƙungiyoyin kare haƙƙin jama’a ke nema a Amurka, Afirka ta Kudu, da duk faɗin duniya.
"Ba zan sake buga wani abu da ba shi da mahimmancin zamantakewa," in ji Roach ga mujallar Down Beat bayan fitar da kundin. “Mu mawakan jazz na Amurka ‘yan asalin Afirka mun tabbatar da babu shakka cewa mu ƙwararrun mawakan kayan kida ne. Yanzu abin da ya kamata mu yi shi ne mu yi amfani da fasaharmu wajen ba da labarin ban mamaki na mutanenmu da abin da muka shiga.”
Roach ya cika maganarsa da “Percussion Bitter Sweet” da “Magana, Ɗan’uwa, Yi Magana!” da kuma sauran kundinsa na rikodi sama da hamsin tare da rukunoni da gundumomi marasa adadi. Koyaushe yana tura iyakokin abin da zai yiwu a cikin nau'insa da kayan aikinsa, ya kafa ƙungiya a cikin 1979 da ake kira M'Boom, wanda ya ƙunshi mawaƙa takwas, yana nuna yadda sassauƙa - da kiɗan waƙa zai iya zama.
Wataƙila ɗayan mafi kyawun shaidar zamani ga tasirinsa mai nisa, Roach ya yi a farkon 80s tare da rapper Fab Five Freddy da New York Break Dancers. "Ina ƙoƙarin nuna… dangantakar dake tsakanin hip-hop da Louis Armstrong," in ji Roach. "Hakanan shine tushen hip-hop mai kyau..."
Daga bebop zuwa hip-hop, duniya ta bambanta sosai da lokacin da Max Roach ya buga tarkonsa na farko. Babu shakka ya taka rawa wajen tsara wannan duniyar. Kuma idan an ɗora waƙarsa a zuciya, mu ma.
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Alexander Billet ɗan jaridar kiɗa ne kuma mai fafutuka da ke zaune a Washington DC. Shi mai ba da gudummawa ne akai-akai Znet da kuma Muryar Dissident. Shafin sa, Frequencies Rebel, ana iya duba shi a http://rebelfrequencies.blogspot.com, kuma za a iya isa gare shi a [email kariya]
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