Arts

Max Roach talks jazz

Many of the eager spectators who filled the seats in Crowell Concert Hall stood as Max Roach took the stage Saturday, Sept. 9. Though their hopes and expectations for the show were varied that afternoon, everyone gained some newfound knowledge and had a good time.

Roach, a New York jazz great whose most prolific period was during the late 1950s and early 1960s, alternated his speech with presentations from three University professors who explained how different types of music are intertwined with various cultures.

Assistant Professor of Religion Elizabeth McAlister enlightened the audience about the role of Afro-Haitian music in the voodoo religion. Visiting Artist in Music David P. Nelson then spoke about sacred drums from India and later gave a demonstration. Adjunct Professor of Music Sumarsam brought five people onto the stage to play 

a short piece of Indonesian music.

Roach's own lecture addressed his strong role in the New York jazz scene. In addition, he spoke about jazz's connection to the politics and culture of African-Americans in the twentieth century. He answered questions from the audience about his music, but primarily addressed his views on where African-Americans felt most comfortable expressing themselves musically, 

He also addresesed how his upbringing influenced his music.

Tim Keiper '02, who attended the talk, said he benefited from the musical and cultural aspects of the program. 

"I didn't know what he was going to be talking about, but I was really interested to hear about the racial and political issues. Especially from someone who experienced it firsthand," Keiper said.

Roach experienced firsthand the liveliness of the African-American community and the jazz music that was vital to his community. He recalled his childhood in a predominantly African-American neighborhood.

"I grew up in this music," he said. "You slept, ate, and drank this music."

According to Roach, the culture of African-Americans living separately from whites greatly influenced the development of their music. 

"Our music was preserved because of racism," he declared.

Julie Strand, a first year graduate student pursuing a Ph.D. in ethnomusicology at the University, greatly enjoyed the Roach's lecture.

"Now, it's almost fifty years after what he's been talking about, so it's interesting to hear about what he had to say," she said.

Roach explored how music was embedded into African-American. Other University faculty members delved into how music of other cultures was related to the religions that musicians in other countries practiced.

Nelson described how the Nati Shastra, a book written about 2,000 years ago in India, told the story of a mythical sage who meditated, listened to the rain, and dreamed of drums. 

"This is all sacred music, in a way," he said.

According to McAlister's lecture, a special ceremony, complete with a baptism of sorts, takes place when a drum is made in the voodoo tradition.

"Voodoo is a philosophy based on the principle that everything is spirit."

Sumarsami demonstrated the art of Indonesian music. Two of the instruments that his ensemble played resembled a xylophone. One was a drum that was played on its side, and the other instrument resembled a small cello. All of the performers in the Indonesian piece sat on the floor while they played.

"I thought the talk was very informative," Keiper said. "It gave me a good look at all the different types of traditions that came out of different cultures."