Roy Brooks

[Indestructible!]

So long, Roy. May your sprit continue to soar!

And, thanks for making this world a better place to be with your music!

Shane

[randissimo]

So long, Roy.  May your sprit continue to soar!

And, thanks for making this world a better place to be with your music!

Shane

←

Well put Shane.. Roy was truly a gift!

[Peter Friedman]

I grew up in Detroit at the same time Roy Brooks was developing his skills as a drummer. He would hang out with some of the other young Detroit cats like Charles McPherson and Lonnie Hillyer. They spent a fair amount of time with jazz master Barry Harris, learning from him.

The first time I heard Roy play he was rather young and his playing was ragged. Over time I watched and heard him turn into an outstanding drummer. He was one of my favorite drummers of the 1960's. Unfortunately, personal problems required Roy to leave the New York scene and return to Detroit.

One interesting memory I have dates back to about 1960 or thereabouts when I had a summer job working for the Detroit Parks and Recreation Department. I was working at a playground when Roy brooks, Charles McPherson, and Lonnie Hillyer came by with a basketball, and the four of us played B-Ball together for a while.

[ValerieB]

I grew up in Detroit at the same time Roy Brooks was developing his skills as a drummer. He would hang out with some of the other young Detroit  cats like Charles McPherson and Lonnie Hillyer. They spent a fair amount of time with jazz master Barry Harris, learning from him.

←

peter, you've managed to mention four of my favorite players/people from the sixties! thankfully, barry and charles are still with us.

[ep1str0phy]

Just found out about this--much respect and love.

[JamesJazz]

I know this is kinda long, I wrote it a few years ago when we had a benefit for Roy so's he would have some $$$ when he got out of prison.

“When I saw Bird as a youngster, I made up my mind that all I would ever do is play music. Hopefully, music will flourish so the community will see musicians and want to be like them.”

--Roy Brooks

“Roy Brooks is a helluva drummer. He's got soul and fire and that extra something that all good drummers have. You've got to play, with Roy Brooks kicking you in the behind."

--Horace Silver

Roy Brooks: Master Drummer – Drummist – Drumologist

Wit, Poetry In Motion, Link to Earlier Jazz Drummers

Powerful Creative Force, Talent Nurturer

Creative Soul with a Unique Perspective

Mystical Afronaut, Wordsmith

Michigan Jazz Master

Performance Artist

Artistic Truth

Hip Verbalist

Griot

Pisces

Basketball Star

A Founder of M.U.S.I.C.

Founder Member of M’Boom

Aboriginal Percussion Choir-master

B Natural with an F# Moon & C Rising

Master Percussionist and C Sawman for Mingus

Born in Detroit, March 9, 1938, to Roy and Katie Brooks.

Roy’s childhood friends included Alice McLeod and Charles McPherson. His early mentors were Elvin Jones and Frank Gant, both of whom Roy met while hanging around the Blue Bird Inn. Brooks was also a star Basketball player in high school; despite his average height he was a fine dribbler and had a good aim.

Roy began working professionally at age 12 and by the time he joined Horace Silver at age 21 he was a seasoned musician, having worked at the Blue Bird Inn with Lamonte Hamilton, Beans Bowles, Abe Woodley and BuBu Turner.

Another memorable gig for the then nineteen-year old Brooks was at the Hajji Baba in a group led by Conga player / Vocalist Cuban Pete. Included in the band were Wilbur Harden, Will Davis and Beans Richardson. After a Las Vegas trip with Beans Bowles’ quartet and the 4 Tops, Brooks moved to New York City. Detroit musicians who were already established in Manhattan befriended him.

He joined Horace Silver’s group in September 1959, and the way Roy got the gig is a classic jazz story:

Fellow Detroiter Louis Hayes recommended Brooks, but Lex Humphries was also a contender.

Roy’s first night with the band didn’t go very well; he was confused by Silver’s challenging music and didn’t hit all of the tempo changes or capture the nuances of the material. Things improved after a week, but one night Brooks came to work and the other musicians kept their backs to Roy when he got on the stand. “I thought, damn, cats don’t even want to talk to me, I’m playing so bogue,” he said. “Then Horace came up to me and said, ‘Miles wants to talk to you.’ So, we went over to the table and sat down. And Miles didn’t say NOTHIN’. Horace says, ‘Miles say if I don’t hire you he’ll hire you and have two drummers.’ Miles didn’t say NOTHIN’.

So that’s how I got the gig.” Brooks remained with Silver until 1964.

Over the next ten years Brooks kept busy on the competitive NY scene.

He worked and/or recorded with musicians like Chet Baker, Sonny Stitt, Dollar Brand and Yusef Lateef. Roy was asked by Charles Mingus to join Mingus’ band in 1972; Danny Richmond left Mingus to work with the Mark-Almond Band, and Charles was looking for a replacement. He’d considered Joe Chambers, but didn’t like his playing – Mingus thought he “played like a girl.” Brooks and Mingus lived in the same apartment building, and he was familiar with Brooks’ work with Horace Silver. It was a good musical match. Both musicians have a slightly off-center vision of the world, and both have amazing talent. They’re also strong personalities who enjoyed each other’s company and imagination. The partnership lasted nearly three years.

He came home in 1975 and started a firestorm of activity: he led a trio that backed up visiting musicians, recorded as both leader and sideman and shared his wealth of knowledge through M.U.S.I.C. [Musicians United to Save Indigenous Culture], which he founded with Marcus Belgrave and Harold McKinney.

Brooks’ Aboriginal Percussion Choir offered younger musicians a chance to learn, and produced fresh sounds that delighted Detroit audiences. He was in Max Roach’s M’boom percussion ensemble.

During the 1990s Brooks moved further into the realm of ‘Performance Art’ – he used the stage as a pallet, and non-musical paraphernalia to create sound- and sightscapes that fused street scenes with jazz rhythms. I remember a radio performance where Roy employed a tap dancer, a tape of a Joe Louis fight, a drum machine and several musicians in addition to his ‘normal’ drum kit. Roy Brooks always has a wealth of ideas, a unique perspective that often yielded startling results.

As we go about our lives, let us remember and pray for our friend, our brother, our valued community member ROY BROOKS.

[ValerieB]

JamesJazz: thank you SO much! i'm passing this wonderful tribute around to some friends who knew Roy and may not have seen it.

[rostasi]

This is so sad...

We were just talking about "The Free Slave"

the other day on this board.

One thing I noticed: there is no information on Roy

at the Wikipedia site. It would sure be nice if someone with a command of the language

and better than average writing skills would contribute a nice biography on him here:

http://en.wikipedia.org/w/index.php?title=...oks&action=edit

[Jim Alfredson]

I nominate adding JamesJazz's post!!!

[JamesJazz]

Thanks for your kind words, I'm revamping Roy's bio and adding more details, will post it here since people are interested, and may also post it on our website. Lars Bjorn and I interviewed Roy in 1999, not long before he was arrested and sent to prison. I have many memories of Roy.

Aside from his stellar talents, Roy was a kind and decent human being with a keen appreciation of history and a strong sense of community. More's the pity his disorder wasn't adequately treated.

Jim

www.detroitmusichistory.com

[randissimo]

I know this is kinda long, I wrote it a few years ago when we had a benefit for Roy so's he would have some $$$ when he got out of prison.

“When I saw Bird as a youngster, I made up my mind that all I would ever do is play music.  Hopefully, music will flourish so the community will see musicians and want to be like them.”

        --Roy Brooks

“Roy Brooks is a helluva drummer.  He's got soul and fire and that extra something that all good drummers have.  You've got to play, with Roy Brooks kicking you in the behind."

        --Horace Silver

Roy Brooks:  Master Drummer – Drummist – Drumologist

Wit, Poetry In Motion, Link to Earlier Jazz Drummers

Powerful Creative Force, Talent Nurturer

Creative Soul with a Unique Perspective

Mystical Afronaut, Wordsmith

Michigan Jazz Master

Performance Artist

Artistic Truth

Hip Verbalist

Griot

Pisces

Basketball Star

A Founder of M.U.S.I.C.

Founder Member of M’Boom

Aboriginal Percussion Choir-master

B Natural with an F# Moon & C Rising

Master Percussionist  and C Sawman for Mingus

Born in Detroit, March 9, 1938, to Roy and Katie Brooks.

Roy’s childhood friends included Alice McLeod and Charles McPherson.  His early mentors were Elvin Jones and Frank Gant, both of whom Roy met while hanging around the Blue Bird Inn.  Brooks was also a star Basketball player in high school; despite his average height he was a fine dribbler and had a good aim.

Roy began working professionally at age 12 and by the time he joined Horace Silver at age 21 he was a seasoned musician, having worked at the Blue Bird Inn with Lamonte Hamilton, Beans Bowles, Abe Woodley and BuBu Turner.

Another memorable gig for the then nineteen-year old Brooks was at the Hajji Baba in a group led by Conga player / Vocalist Cuban Pete.  Included in the band were Wilbur Harden, Will Davis and Beans Richardson.  After a Las Vegas trip with Beans Bowles’ quartet and the 4 Tops, Brooks moved to New York City.  Detroit musicians who were already established in Manhattan befriended him. 

He joined Horace Silver’s group in September 1959, and the way Roy got the gig is a classic jazz story:

Fellow Detroiter Louis Hayes recommended Brooks, but Lex Humphries was also a contender. 

Roy’s first night with the band didn’t go very well; he was confused by Silver’s challenging music and didn’t hit all of the tempo changes or capture the nuances of the material.  Things improved after a week, but one night Brooks came to work and the other musicians kept their backs to Roy when he got on the stand.  “I thought, damn, cats don’t even want to talk to me, I’m playing so bogue,” he said.  “Then Horace came up to me and said, ‘Miles wants to talk to you.’  So, we went over to the table and sat down.  And Miles didn’t say NOTHIN’.  Horace says, ‘Miles say if I don’t hire you he’ll hire you and have two drummers.’  Miles didn’t say NOTHIN’. 

So that’s how I got the gig.”  Brooks remained with Silver until 1964.

Over the next ten years Brooks kept busy on the competitive NY scene.

He worked and/or recorded with musicians like Chet Baker, Sonny Stitt, Dollar Brand and Yusef Lateef.  Roy was asked by Charles Mingus to join Mingus’ band in 1972; Danny Richmond left Mingus to work with the Mark-Almond Band, and Charles was looking for a replacement.  He’d considered Joe Chambers, but didn’t like his playing – Mingus thought he “played like a girl.”  Brooks and Mingus lived in the same apartment building, and he was familiar with Brooks’ work with Horace Silver.  It was a good musical match.  Both musicians have a slightly off-center vision of the world, and both have amazing talent.  They’re also strong personalities who enjoyed each other’s company and imagination.  The partnership lasted nearly three years.

He came home in 1975 and started a firestorm of activity:  he led a trio that backed up visiting musicians, recorded as both leader and sideman and shared his wealth of knowledge through M.U.S.I.C. [Musicians United to Save Indigenous Culture], which he founded with Marcus Belgrave and Harold McKinney. 

Brooks’ Aboriginal Percussion Choir offered younger musicians a chance to learn, and produced fresh sounds that delighted Detroit audiences.  He was in Max Roach’s M’boom percussion ensemble.

During the 1990s Brooks moved further into the realm of ‘Performance Art’ – he used the stage as a pallet, and non-musical paraphernalia to create sound- and sightscapes that fused street scenes with jazz rhythms.  I remember a radio performance where Roy employed a tap dancer, a tape of a Joe Louis fight, a drum machine and several musicians in addition to his ‘normal’ drum kit.  Roy Brooks always has a wealth of ideas, a unique perspective that often yielded startling results.

As we go about our lives, let us remember and pray for our friend, our brother, our valued community member ROY BROOKS.

←

Thanks for that post!

[dova]

What recordings is Roy on?I would love a list of recordings that Roy plays drums on as a sideman. I picked up his BEAT cd on Workshop and it is very cool. I love his playing and need more of him on cd or Lp. Thanks! Dova

[johnagrandy]

Unfortunately in the last few years, Roy had some severe setbacks due to a bi-polar disorder. You can read it here, as it is sad for me to describe.

http://www.metrotimes.com/editorial/story.asp?id=2746

http://www.metrotimes.com/editorial/story.asp?id=7070

Medication can and does work for many of those with bipolar disorder.

However, from what I've learned from recent research, lithium is out of favor in the MD/PhD community. Side effects are extreme. Still commonly used in psych wards in jails, but rare to be prescribed for those with good medical insurance and a good psychiatrist. There are many other options, and usually 2-3 or more drugs are tried out before the appropriate long-term drug is found and adhered to.

Not sure it's true that if Roy had consistently taken a medication that fit his biochemistry that his playing would have lost its fire. His style might have changed somewhat ... but the creativity most probably would have remained.

Truly sad story. Especially for Detroit where, from what I've read, the struggle to survive is among the most difficult in America. Is it Detroit or South Philly where something like 60% are addicts ?

Edited February 27, 2006 by johnagrandy

[johnagrandy]

Ok, they did try other drugs:

“He had a lot of setbacks,” Hermine says. “He’d come back from M’Boom and then they would wait for him to get better again before going back out. He’d try a medication and it would make him so sick. He’d say, ‘I can’t play, I can’t hear the music.’ It took many, many years before he found something he could work with. It turns out lithium was the only thing that worked. I kept thinking, ‘Maybe this will save his life."

But that interview was 2001 and not clear over what time period Roy was treated with medication.

I disagree that it was the right move to sentence Roy to years in prison. In poor neighborhoods, neighbors threatening each other with various weapons is rather common. Judges should closely look at the context and the life-history.

Prison is full of the proven violent mentally ill who need to be dumbed down by lithium so that they don't kill someone. I don't believe Roy was like that.

[Peter Friedman]

What recordings is Roy on?I would love a list of recordings that Roy plays drums on as a sideman. I picked up his BEAT cd on Workshop and it is very cool. I love his playing and need more of him on cd or Lp. Thanks! Dova

Dova,

Here is list of some of my favorite CDs with Roy Brooks as a sideman.

Sonny Red - Out Of The Blue - Blue Note

Horace Silver - Horace-scope - Blue Note/ Doin' The Thing - Blue Note/ Silver's Serenade - Blue Note

Blue Mitchell - Blues Moods-Riverside/ The Cup Bearers - Riverside/ Step Lightly-Blue Note

Junior Cook - Junior's Cookin' - Jazzland

Sonny Stitt- POW-Prestige/ Constellation-Muse or 32 Jazz / The Champ- Muse

Yusef Lateef - The Golden Flute - Impulse

Charles McPherson - McPherson's Mood - Prestige

Dexter Gordon - The Jumpin' Blues - Prestige

Woody Shaw - Bemsha Swing - Blue Note

Chet Baker - Lonely Star - Prestige/ Stairway To The Stars - Prestige/ On A Misty Night - Prestige

[JamesJazz]

It's true Roy had mental health issues, but he was a strong part of the Detroit music community and spent much time teaching youngsters how to play, behave, appreciate the strength and power of music.

So many folks focus on his health issues but it was his CREATIVITY that drew people to him...

Bassist Marion Hayden told me about spending days in Roy's basement, it was a gathering place for neighborhood children, and M'Jumbe taught them about music, and about life. The man was a griot.

Check out his "Duet In Detroit"...

[johnagrandy]

It's true Roy had mental health issues, but he was a strong part of the Detroit music community and spent much time teaching youngsters how to play, behave, appreciate the strength and power of music.

So many folks focus on his health issues but it was his CREATIVITY that drew people to him...

Bassist Marion Hayden told me about spending days in Roy's basement, it was a gathering place for neighborhood children, and M'Jumbe taught them about music, and about life. The man was a griot.

I'm probably going to get slammed for saying this ...

.... but the more I learn about musicians like Parker, Monk, Dolphy, Ra, Shaw, Brooks, Harrell, Cobain ... I find it increasingly difficult to distinguish between genius and "mentally ill" (as conventional society defines it) ...

I think many of those who heard something truly differently did not seek it out. It was not "planned" or "invented". Rather, they heard the music differently because they had to. And they had to because they could not exist in this world without continuously communicating the radically alternative conceptualization of co-existence they envisioned. A communication that could only be accomplished through music.

Concerns regarding economic survival and criminality are the primary motivators for society's current response to bipolar.

But what if bipolar is inextricably associated with an intensely heightened awareness of humanity on a grand scale and a biochemical inability to disassociate oneself from this awareness ?

If true , then much is explained:

Most bipolars crack under the pressure of the swings into intense awareness of sadness and accomplish little with their lives.

A few immensely strong-willed bipolars propel the manic phases to such lengths and heights that they are able to overcome (or at least survive with little damage) the depressive swings for many years. They channel the manic energy into creativity and become those we label eccentric geniuses