I was recently listening to the latest album from the Jazz at Lincoln Center Orchestra featuring the exceptional drumming of Obed Calvaire and, in particular, his composition Between Max and Ti-Roro caught my attention.
Apparently the Haitian drummer known as Ti Roro (or Tiroro) was a formative influence on the drumming of Max Roach, when Roach first heard him around 1939.
Here's a couple of interesting pieces to check out to that effect:
https://farsidemusic.wordpress.com/2015/03/03/tiroro-best-of-tiroro-the-greatest-drummer-in-haiti/
From Wikipedia:
"Baillargau Raymond, known as Ti Roro, was a Haitian drummer known for bringing the artistry of Haitian Vodou ritual drumming and other traditional Afro-Haitian drumming styles to the stage and to recording studios. He was an international performer who influenced jazz musicians, in particular, Max Roach. His year of birth is estimated to be 1915. It is widely believed that he died in 1980, probably in Port-au-Prince. Ti Roro's performances and collaborations can be found on solo recordings and in work for such artists as orchestra leader Issa El Saieh, singer Guy Durosier, and dancer Jean-Léon Destiné."
Max Roach in his June 1982 Modern Drummer feature: I had an interesting experience. I went to Haiti and saw a great, great drummer there. I watched him teach a student and it was very close to the way we learned. We used to listen to records and take off the record what the person was doing. You didn't see the person. You'd just hear it. We'd figure out what was happening with our ears. Then we'd duplicate the sound. Well, he taught that way. He'd put a student in another room with a partition. Then he'd make a sound on the drum and the student would have to imitate the sound. When I asked him why he taught like that and why he would never have the student look at how he did things, he said it was because everybody's anatomy is different. So, it's beholding upon the student to listen and then figure out a way to create that sound.
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