Roach's Communication


​​​​​​​"We Insist!": One Album Addressing Global Issues  

“A revolution is unfurling—America’s unfinished revolution. It is unfurling in lunch counters, buses, libraries and schools—wherever the dignity and potential of men are denied. Youth and idealism are unfurling. Masses of Negroes are marching onto the stage of history and demanding their freedom now!”

(A. Philip Randolp)


"We Insist! Freedom Now Suite"
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Recorded and released in 1960, the 5 songs- Driva' Man, Freedom Day, Triptych: Prayer / Protest / Peace, All Africa, and Tears for Johannesburg- on the"We Insist!" album each investigate different racial movements, statements, and issues. The album moves from slavery, to hopeful freedom, addressing current racial issues around the globe. 

This album focuses specifically on the Civil Rights Movement in the 1960's. Through providing pieces with elements of both African and American culture, Roach reminds the audience of jazz's African roots, while communicating the need for action against racial injustice across the globe.



"...it is the fact that for people of color the drums are essential in terms of communication, in terms of ritual, in terms of calling down energies and spirits to actual material form."

(Martin Vega, organizer of “Sacred Drums” project concert at Duke Ellington School of Music, 1990)

Due to the "We Insist!" album's controversial topics, there were many negative responses and reviews. However, the album continued to gain publicity, and as a result, spread its intended message throughout American society. When performed at the Philadelphia NAACP Convention in 1961, it became a beacon of civil rights awareness, especially in the South.

                     An excerpt of "Driva' Man" featuring vocalist Abbey Lincoln. The tambourine hit on each downbeat signifies the crack of a whip. 

Abbey Lincoln performing "Driva Man" live (1964) (PC-Belgian TV BTR2) 

An excerpt of Roach's drum solo in "Tears for Johannesburg," played over a rhythmic traditional African beat. 


​​​​​​​Collaboration With Other Artists

"Jazz is a very democratic form. It comes out of a communal experience. We take our respective instruments and collectivly create a thing of beauty."

(Roach 1993)

Charles Mingus (bass), Max Roach (drums), and  Dizzy Gillespie (trumpet). The concert, performed by "The Quintet" at Massey Hall, was the only time five of the most influential bebop jazz players- Dizzy Gillespie, Charlie Parker, Bud Powell, Charles Mingus, and Max Roach- would record together. (May 15, 1953) (PC unknown)

Max Roach and Abbey Lincoln (1964) (PC unknown).

Oscar Brown

"We Insist!" began as a collaboration between Max Roach and Oscar Brown. However, as they explored controversial topics, they realized they had very different opinions on how racial injustice and segregation should end. Brown believed in Martin Luther King Jr.'s philosophy: peaceful protest, while Roach believed in any means possible, resulting in the end of their collaboration. Roach and Brown collaborated on three songs together: "Driva' Man," "Freedom Day," and "All Africa." Despite the collaboration's end, the album remained a powerful soundtrack for the Civil Rights Movement. 

Abbey Lincoln

With very little music in her life as a child, Abbey Lincoln was first introduced to jazz by Max Roach. Inspired by artists like Billy Holiday, Lincoln learned to mix the art of protest into her songs. She worked alongside Roach and Brown as a stunning vocalist for "We Insist!", singing on the tracks "Driva' Man," and "All Africa." 

Charles Mingus

The "We Insist!" album was not only able to directly communicate its intended messages about the Civil Rights Movement to larger society, but also inspired other musicians to do the same. Bass legend Charles Mingus recorded the album "Charles Mingus Presents Charles Mingus" in 1960, which became another popular jazz protest. 

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