Post-bop drummers

Source: Wikipedia. Pages: 24. Chapters: Albert Heath, Bill Bruford, Cecil Brooks III, Chico Hamilton, Elvin Jones, Freddie Waits, Joe Chambers, Louis Hayes, Max Roach, Philly Joe Jones, Tony Williams (drummer), Willie Jones, III. Excerpt: Maxwell Lemuel "Max" Roach (January 10, 1924 - August 16, 2007) was an American jazz percussionist, drummer, and composer. A pioneer of bebop, Roach went on to work in many other styles of music, and is generally considered alongside the most important drummers in history. He worked with many famous jazz musicians, including Coleman Hawkins, Dizzy Gillespie, Charlie Parker, Miles Davis, Duke Ellington, Thelonious Monk, Charles Mingus, Billy Eckstine, Stan Getz, Sonny Rollins, Clifford Brown, Eric Dolphy and Booker Little. Roach also led his own groups, and made numerous musical statements relating to the civil rights movement of African Americans. Roach was born in the Township of Newland, Pasquotank County, North Carolina, which borders the southern edge of the Great Dismal Swamp, to Alphonse and Cressie Roach. Many confuse this with Newland Town in Avery County. Although Roach's birth certificate lists his date of birth as January 10, 1924, Roach has been quoted by Phil Schaap as having stated that his family believed he was born on January 8, 1925. Roach's family moved to the Bedford-Stuyvesant neighborhood of Brooklyn, New York when he was 4 years old. He grew up in a musical home, his mother being a gospel singer. He started to play bugle in parade orchestras at a young age. At the age of 10, he was already playing drums in some gospel bands. As an eighteen year-old fresh out of Boys High School in Brooklyn, (1942) he was called to fill in for Sonny Greer, and play with the Duke Ellington Orchestra performing at the Paramount Theater. In 1942, Roach started to go out in the jazz clubs of the 52nd Street and at 78th Street & Broadway for Georgie Jay's Taproom (playing with schoolmate Cecil Payne). Roach's most significant innovations came in the 1940s, when he and jazz drummer Kenny Clarke devised a new concept of musical time. By playing the beat-by-beat pulse of standard 4/4 time on the "ride" cymbal instead of on the thudding bass drum, Roach and Clarke devel