By Steve Weinstein
By Devon Maloney
By Tessa Stuart
By Alison Flowers
By Albert Samaha
By Jesse Jarnow
By Eric Tsetsi
By Raillan Brooks
Max had what Oscar Peterson calls the "will to perfection" in continuing to find out through his music who he was. Oscar says that will is a prevailing force among jazz musicians, explaining that "it requires you to collect all your senses, emotions, physical strength, and mental power, and focus them entirely onto the performance, with utter dedication, every time you play.
"And if that is scary, it is also uniquely exciting . . . you never get rid of it. Nor do you want to, for you come to believe that if you get it all right, you will be capable of virtually anything."
But Max also knew, as did Coleman Hawkins, that it's essentially the striving that keeps musicians and the rest of us going. During one of Hawkins's best solos in the Freedom Now Suite, there was a squeak. "Don't splice that!" Hawkins told me. "When it's all perfect in a piece like this, there's something very wrong."
What Max had created was in real, raw timefor all time.