Visit stickingupforchildrhen.com/october2020 for a general summary of intentions for David's speaking about Hatian music and culture in the Amerrcas to Haitian students. Also, the album page for this track.

David here tells of Max Roach visiting Haiti. Max is introduced to Ti Roro as as a "grand batteru des États-Unis." Ti Roro is introduced by the interpreter as a "grand batteur de monde." Max is given recordings of Ti Roro's playing. They meet again the next day. Max agrees with the intepreter--"Oui! Une grand batteru du monde!"

Here are links relating to Max Roach and Ti Roro.


TI RORO AND CHROAL GROUP
www.youtube.com/watch?v=wIdufQMuHH4


TI RORO the Haitian drummer 1956
www.youtube.com/watch?v=QZV0p3LxGkc
folkways.si.edu/tiroro/the-haitian-drummer/caribbean-world/music/album/smithsonian
folkways-media.si.edu/liner_notes/cook/COOK05004.pdf

(The notes by composer HENRY COWELL are very revrealing as to how much Ti Roro has advanced drumming.)

TI RORO AND JEAN REMY 1961
www.youtube.com/watch?v=I_pRVHHXB5A


MAX ROACH, 1981 with SCOTT K. FISH
scottkfish.com/2016/08/10/max-roach-what-youre-playing-for-is-sound/

"I know I had an interesting experience. I went to Haiti and a great, great drummer there, Tiroro, he played the skin-on-skin instrument. And he knew how to make the drum sing. I watched [Tiroro] 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 [musician] was doing. You didn’t see the [musician]. You would just hear [musicians]. We’d figure out what was happening with our ears. And then we’d duplicate the sound.

Well, [Tiroro] taught that way. He’d put a student in another room with a partition. And then [Tiroro] would make a sound, and the student would have to imitate the sound.

And when I asked [Tiroro] why he [taught] like that, why he would never have the student look at how he, [Tiroro], did things, [Tiroro] said, Because everybody’s anatomy is different. So it’s beholden up the student to listen, and then figure out a way — using [the student’s] own hands and the skin on the drum — how to create that sound.

SKF: That’s tough [to do].

MR: It is tough. But since [Tiroro’s] is a system they use — kids get it faster.

And I said, “Wow. That’s so close to the way we did things. Because I had to listen to records and find out what was happening. If it was a snare — what [a drummer] did on the snare; or if it was a hi-hat, or what kind of cymbals was [a drummer] using as rides, and all these things.
First, hear these things. And then find…out [what was happening], and maybe write it down, or just duplicate [the sound] by playing it."



"KoKo" 1945 recording good quality, Max 2:05-2:30
www.youtube.com/watch?v=8wGJpbPKbz8&list=RDzZp5BKU5HR0&index=4

Carnegie Hall Max 3:00 to 3:45
www.youtube.com/watch?v=tGHKbhc_6KU

Clifford and Max
"Daahoud"
www.youtube.com/watch?v=T5YLzdzkiTM&list=RDzZp5BKU5HR0&index=6


Max, Abbey in Quintet, Belgium, 1964,
performing "Freedom Suite"\https://www.youtube.com/watch?v=8Zyw4TWbgtE