MRDQ

Gayle Dixon has forwarded to me some reviews of early performances by the Max Roach Double Quartet. The articles are translated by Patrisa Tomassini, an Italian violinist who also works as a translator in NYC. I found some of the observations in the reviews perceptive and thought-provoking, though I don't agree about the "coldness" of Bridgewater's playing.



LUGANO
July 5-6, 1983 "Jazz Festival"

Max Roach’s double quartet was indeed a grand affair that will continue to linger in our ears even after the end of the summer. It was made up of the usual quartet with the illustrious drummer, Cecil Bridgewater on trumpet and Odeon Pope on tenor sax (Art Davis on double bass) to which they added a classical string quartet, namely the Uptown String Quartet, made up entirely of women ( Gayle Dixon, first violin, Celia Hobbs second, Maxine Roach Max’s daughter on viola and Akua Dixon, cello).

It is well known from prior experience and criticism, how little received and liked, strings are, within jazz music. These noble instruments have been used in African-American music only as mere back-drops of optimism and Hollywood-like music affairs. However, Roach’s bravura accomplishes a miracle. Under his direction and the powerful propulsion of his drums, the strings speak the same language as the winds. The dialogue between them and the trumpet as well as the sax create incredible expressions never before heard, that might give a new and welcomed direction in jazz, at a time when the music itself is stagnant and same-ish.

Franco Fayenz


COMACCHIO
July 8-10 "Comacchio Jazz ‘83"

As the first evening rolled around, it brought with it incredible surprises. The lime light belonged to Max Roach, who performed after pianist Giorgio Gaslini, the only Italian name on the festival’s posters. The famous drummer from Brooklyn, on this last European tour, has annexed to his usual group (Cecil Bridgewater trumpet, Odeon Pope tenor sax, Art Davis double bass, having replaced Calvin Hill) a string quartet lead by his daughter Maxine on viola, an addition that proved to be superior to all expectations. A beautiful drum solo was followed by the blues, that were long and fiery, played by the jazz group. Art Davis and Odeon Pope delivered an admirable performance and Bridgewater was a bit disappointing with his overly measured and cold trumpet playing.

Three short pieces followed, with the string quartet alone, but in truth, it was rather scholastic only to redeem itself later, in the second half, when the entire group played together. Nothing revolutionary was expected, as the strings merely replace the winds, as in any traditional jazz ensemble. The true novelty, however, was to be enjoyed in the musical design, fresh and refined, as well as in sound. Truly an original concept, brought forth by the contrast between the winds and the strings, light and chiseled, almost impalpable.

Claudio Donà