Roy Haynes

[Guest akanalog]

check haynes out on larry coryell's "barefoot boy".

he really plays with fire and it is nice to hear him in a fresh context.

the last song "call to a higher consciousness" or something, is a 20 minutes jam and haynes keeps doing all these nice fills and accents and gets a long solo too.

[Guy Berger]

My ears first opened up to Roy Haynes' playing when I heard him on Eric Dolphy's New Jazz recordings, especially Far Cry.

His playing on the first tune ("Mrs. Parker of K.C.", I believe) is mind-boggling.

Other favorites by Roy: the tenor-drums duet on "Impressions" from Trane's Newport '63, Now He Sings Now He Sobs

Guy

[mikeweil]

Another favourite Haynes sideman date of mine is Introducing Nat Adderley, which is currently available in Verve's LPR series. He is well featured throughout and gives plenty lessons in creative modern bop drumming. Excellent stuff!

[Rooster_Ties]

A lot of people say that Joe Henderson stole the show on Andrew Hill's "Black Fire;" my vote goes to Roy. I really got into listening to drummers from listening to Roy on that album. I will definitely be picking up the upcoming RVG. There are many special Blue Notes, but "Black Fire" is really one of the best of the best.

It's been said before in this thread (though about another recording), but I think all four players on "Black Fire" were absolutely at the top of their game the day that was recorded. One of Roy's finest hours (one of MANY!!!).

[pryan]

Get a newer Haynes release called BIRDS OF A FEATHER. All-start ensemble, everyone is at the top of their game. Holland, Hargrove, Garrett, and Kikowski (piano). Highly recommended.

[Ron Thorne]

Sal, I quite agree with your assessment of Roy Haynes and the album Now He Sings, Now He Sobs, certainly one of the finest piano trio recordings ever.

Roy Haynes is a drummer's drummer. He's been on my top five list for over four decades now.

Creative, tasteful, articulate, clean, simple and elegant. His cymbal work is without peer, as is his use of dynamics.

Oh, and it goes without saying that Roy's a haberdasher's dream.

As for the size of Roy's drumset, it's a scaled-down (Yamaha) jazz kit, as many jazz drummers prefer. It really has nothing to do with his physical size, but rather the specific tonal qualities and "colors'" he wants to explore.

[Late]

As for the size of Roy's drumset, it's a scaled-down (Yamaha) jazz kit, as many jazz drummers prefer. It really has nothing to do with his physical size, but rather the specific tonal qualities and "colors'" he wants to explore.

Thanks for clearing that up Ron.

The latest Japanese SBJC remaster of Now He Sings, done by none other than Malcolm Addey, sounds amazing ...

[Late]

Listened to this one today. Damn! While the album isn't the greatest, Haynes' drumming is spectactular. His unaccompanied solos are a thing of beauty ...

I still can't quite get over how, in the annals of jazz music, Haynes seems to take a backseat (as far as recognition) to Blakey, Roach, et al. He was easily their equal.

[clifford_thornton]

Seek out if you can The Bud Powell Trio Birdland '53 Vol. 1 (I have it on Fresh Sound, but these airchecks may have cropped up elsewhere too), with for the most part Haynes and either Pettiford or Mingus. Bud is in great form, and Haynes takes a long solo on "Salt Peanuts" that may be the most amazing thing he's ever played -- about two-thirds of the way through there's a moment when it sounds like he's thinking "I can't believe this shit!"

That sounds wonderful; I'll have to pick it up. Amen on the Impulse! session and Black Fire - he plays like Sunny Murray on that shit, and it sounds perfect. That's easily one of my absolute favorite BNs. In fact, if I had to keep just one...

Forgot all about that Corea trio on Solid State. It IS really great, and always a cheap LP. The trio with Perez and Pattitucci is a great one, too. Are they still working together?

Didn't get that into the New Jazz sides for whatever reason, but maybe that could get changed at some point.

[paul secor]

I liked Roy Haynes from way back (oh! those Sarah Vaughan sides...) but it's when I heard him behind Monk and Griffin in the Five Spot sessions that gave the Riverside albums 'Thelonious in Action' and 'Misterioso' that I realised the greatness of his drumming.

I am still amazed that this musician who was playing behind Lester Young and Charlie Parker back in 1949 is still creative. and producing excellent albums.

Roy Haynes is forever young!

brownie - I didn't post at the time, but I remember listening to Pres' 1949 Savoy sides with Roy Haynes over a year ago, and being amazed at Haynes' playing. I'm sure that your post was somewhere in the recesses of my mind at that time, and led me to listen to his drumming. So - a belated thanks.

[HolyStitt]

saw Roy at the Artist Quarter this past January. Great show, with a relaxed atmosphere. Before the first set, Roy sat at the bar and signed autographs.

My favorite leader sessions are "We Three" and "Out of the Afternoon."

[Late]

Listening to this one right now:

It's been a couple of months since I spun it, and I'm liking it even more now. Apparently, this group (Wyands, DeHaas, Haynes) was a working trio, having put in stints at The Five Spot and The Prelude. It really shows — they're tight. This isn't just another "piano trio" recording — it's truly a "drum trio" recording. Beautiful Van Gelder recording, too.

The liners (by Nat Hentoff) on DeHaas, I thought, were interesting. I'll retype them here:

"Eddie De Haas may be the only full-fledged jazzman so far to have been born in Bandoeng, Java, Indonesia (February 21, 1930). When was ten, he started on ukulele. From 1942-45, he played guitar in Hawaiian groups during the Japanese occupation. He went to the Netherlands, and started playing bass in 1951. There weren't many records available, but from those that were, Oscar Pettiford became the first formative influence on De Haas' playing, to be followed by Ray Brown and then, years later, by Percy Heath and George Duvivier. De Haas ranged the continent, working with Pia Beck, Wally Bishop, Martial Solal, Bill Coleman, Henri Renaud, and Chet Baker. He came to America in 1957, and has since worked with Terry Gibbs, Sal Salvador, Miles Davis, Bernard Peiffer, Kai Winding, Benny Goodman, Toshiko Akiyoshi, Blossom Dearie, and Chris Connor. In 1957, Miles Davis heard him with Blossom Dearie, and offered De Haas a long-term engagement with his group. Eddie, however, had already promised to go on the road with Sal Salvador, and his sense of honor forced him (and I use the word literally) to fulfill his promise. He's had a few calls since from Miles to fill in when Paul Chambers was unavailable, and De Haas is gratified that, at least, he's still on Miles' list."

Had anyone heard of this De Haas-Davis connection before? Interesting, to say the least ...

[clifford_thornton]

Never heard that one before; I seem to recall it being one of the rarer New Jazz titles.

[Peter Friedman]

Two Roy Haynes albums (CD's) that I very much like have not been mentioned yet.

Sugar Roy on the Japanese Kitty label. This one is a trio session from 1976 that has Tommy Flanagan and Ron Carter.

The other one is a 1994 recording on Storyville titled My Shining Hour. It's a quartet date with all Danish sidemen. They are tenor player Tomas Franck, pianist Thomas Clausen, and NHOP on bass.

[king ubu]

Not really essentials but certainly very enjoyable are the two LP albums Roy Haynes recorded for Galaxy in 1977-1978 'Thank You, Thank You' (with John Klemmer on one track and various rhythm sections including George Cables, Stanley Cowell, Bobby Hutcherson, Ron Carter, Cecil McBee, etc.) and 'Vistalite' (with Joe Henderson, Ricardo Strobert on flute and alto, Cables, Cowell, McBee, Kenneth Nash and others).

Don't think they were reissued on CD.

They came out some time ago (2004 I think), on this CD:

more info on the Concord website