Haynes, who died Nov. 12, was a heavy hitter, whose limber beat might carry the bandstand. His 65-year recording profession was studded with extra classics than we have now time to even trace at.
TERRY GROSS, HOST:
That is FRESH AIR. We will keep in mind drummer Roy Haynes. He died November 12 on the age of 99. He was one of the crucial in-demand drummers in jazz, working with Lester Younger, Miles Davis, Charlie Parker, Bud Powell, Stan Getz, and Sarah Vaughan, and plenty of others earlier than he turned 30. And later with Gary Burton, Chick Corea, and Pat Metheny. Jazz historian Kevin Whitehead calls him a powerhouse who preferred to prod his fellow gamers.
(SOUNDBITE OF STAN GETZ’S “I’M LATE, I’M LATE”)
KEVIN WHITEHEAD, BYLINE: Drummer Roy Haynes with saxophonist Stan Getz in 1961. Haynes was on considered one of his a number of sizzling streaks within the early ’60s, enlivening a number of traditional data with drum intros that grabbed your consideration and sparked the motion. Here is Roy Haynes kicking off a tune by Oliver Nelson.
(SOUNDBITE OF OLIVER NELSON’S “CASCADES”)
WHITEHEAD: And one by pianist Andrew Hill.
(SOUNDBITE OF ANDREW HILL’S “LAND OF NOD”)
WHITEHEAD: And yet one more – Eric Dolphy’s “G.W.”
(SOUNDBITE OF ERIC DOLPHY’S “G.W.”)
WHITEHEAD: Behind the drums, Roy Haynes displayed energy and intelligence. He was a fast and extremely interactive listener who knew when to assist a soloist and when to impress them. He grew up in Boston, choosing up the sticks round age 7, and began taking part in professionally earlier than he even had a full drum set. His mother and father have been from Barbados, and quite a lot of Anglo and Latino Caribbean rhythms would inform his phrasing.
On a 1951 Charlie Parker document date with a Latin taste, Haynes on drum set seamlessly blends with Afro-Cuban conga and bongo gamers. Then swings and straight jazz time on his personal, transferring simply from one groove to the opposite.
(SOUNDBITE OF CHARLIE PARKER’S “WHY DO I LOVE YOU”)
WHITEHEAD: You may typically spy syncopated Afro-Cuban beats in Roy Haynes’ music as on a 1959 model of “Caravan” with pianist Phineas New child’s trio.
(SOUNDBITE OF PHINEAS NEWBORN JR’S “CARAVAN”)
WHITEHEAD: Roy Haynes had moved to New York as World Conflict II ended, absorbing the music uptown and down. He landed a alternative two-year gig with saxophonist Lester Younger in 1947, and by the early ’50s, leaders have been vying for his companies. Haynes left Miles Davis to hitch Charlie Parker. He did a season backing Ella Fitzgerald, then 5 years with the much more acrobatic singer, Sarah Vaughan. IDing the members of her trio on stage, Vaughan took to giving him an introduction followers would echo ever after.
(SOUNDBITE OF SONG, “SHULIE A BOP”)
SARAH VAUGHAN: Roy Haynes. (Scatting).
WHITEHEAD: He preferred good garments, quick automobiles and staying in form. Roy Haynes prided himself on his fluid beat. He wasn’t one for working towards the rudimental workout routines drum college students be taught early. Like different heavy swingers on the drums, he’d give two-beat patterns a triplety three-beat really feel for tumbling headlong momentum. Haynes may very well be artful, taking part in behind Thelonious Monk dwell in 1958 – typically matching the piano’s intransigence with a little bit of his personal.
(SOUNDBITE OF THELONIOUS MONK QUARTET’S “EVIDENCE”)
WHITEHEAD: Within the early ’60s, Roy Haynes subbed in John Coltrane’s quartet when Elvin Jones was unavailable. A couple of years later, he linked with a younger pianist whose father he’d identified in Boston – Chick Corea. His trio album, “Now He Sings, Now He Sobs,” with Miroslav Vitous on bass, was an instantaneous traditional that’d spawn a number of sequels. Try Roy Haynes’ inventive work on cymbals, hi-hat and snare drum on “Matrix.” He is a smooth, fashionable designer in sound.
(SOUNDBITE OF CHICK COREA’S “MATRIX”)
WHITEHEAD: Roy Haynes at age 43, 1968. Within the ’70s, jazz bought louder and he bashed a bit extra, joking later that his sticks resembled baseball bats.
(SOUNDBITE OF ROY HAYNES’ “EQUIPOISE”)
WHITEHEAD: By the Nineties, Roy Haynes was a broadly revered jazz elder identified for his unfailing good style. He was picky about who he recorded with – not simply anybody who had the cash. Moreover main his personal bands, he’d reunite with former comrades like Chick Corea, Sonny Rollins and Pat Metheny and join with younger bloods like Christian McBride, Joshua Redman and Roy Hargrove. Within the new century, Haynes assembled a so-called Fountain of Youth band, which featured a collection of up-and-coming gamers. That band’s final launch session comes from 2011, when Roy Haynes was 86 – capping a 65-year recording profession studded with extra jazz classics than we have now time to even trace at. He was a heavy hitter whose limber beat might carry a bandstand.
(SOUNDBITE OF ROY HAYNES’ “GRAND STREET”)
GROSS: Kevin Whitehead is the writer of “Play The Method You Really feel: The Important Information To Jazz Tales On Movie,” “Why Jazz?” and “New Dutch Swing,” which has simply been reissued. Tomorrow on FRESH AIR, for Thanksgiving Day, we function considered one of our favourite interviews of the yr, with the beloved cellist Yo-Yo Ma. He introduced his cello to the interview and performed music that is impressed him from his childhood to immediately. I hope you will be part of us. Our technical director is Audrey Bentham. Our engineer is Adam Staniszewski. Our digital media producers are Molly Seavy-Nesper and Sabrina Siewert. Thea Chaloner directed immediately’s present. Our co-host is Tonya Mosley. I am Terry Gross. All of us at FRESH AIR want you a Completely satisfied Thanksgiving.
(SOUNDBITE OF ROY HAYNES’ “GRAND STREET”)
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