Happy Birthday, Roy Haynes
Roy Haynes is the greatest living jazz drummer. Amen.
The bassist and composer Reuben Radding, in a comment on this Substack, pointed out that some drummers more-or-less reinvented the drumset (Jo Jones, Max Roach, Elvin and Tony), some are dominant influences (Jim Black, Jeff Watts), and some are outliers, important players, widely praised and respected, but whose language was never assimilated into general use— Mr. Radding mentions Billy Mintz and Dave Tough (two drummers about whom I hope to write) as being prime examples.
Roy Haynes is a special case. Mr. Haynes is too important in jazz to be an outlier, but like the outliers, no one has ever sounded like Haynes, then or now. It’s startling to realize that such a pure, complete original as Haynes is the single greatest connector between generations in the entire history of jazz. Roy Haynes, of course, is the through line from Louis Armstrong to Pat Metheny.
While no one’s ever really sounded like Roy, his influence is huge— on Chick Corea’s Now He Sings, Now He Sobs, for instance, Haynes’s playing will always exemplify, always signify “cutting-edge, ultra-modern, badass jazz”, because every current jazz drummer stole something from Haynes. In fact, Jack DeJohnette was already calling Roy Haynes ‘Papa Daddy’ in 1968 (that’s Roy on drums and Jack on melodica).
It’s always a good time to check back in with Mr. Haynes’ recorded work, especially with his 98th birthday on March 13th. In a discography as extensive as his— the Lord discography lists 417 sessions— there’s always going to be something new to hear.
I assembled a highlight reel that explicitly avoids the obvious highlights— Haynes with Monk, with Chick Corea, with Coltrane, later recordings with Pat Metheny and Danilo Perez. Great stuff of course, but I wanted to widen the lens, expand the scope, dig a little deeper.
Here’s a sampling of some lesser-heard Haynes in a YouTube playlist. You can also click on individual tracks below.
Luis Russell Orchestra: “Deep Six Blues”, recorded October 1946, released on Apollo Records. In 1945, after nearly a decade as Louis Armstrong’s musical director, pianist-arranger Luis Russell formed a new band for an extended booking at the Savoy Ballroom. In need of a drummer, he sent a one-way train ticket to the 20 year-old Boston phenom named Roy Haynes he kept hearing about. On the slow, melancholy “Deep Six Blues”, Roy kicks the band, and even sets up a few moments of double time. Though there’s not much room for Haynes to leave his fingerprints on this track, but when we hear the snare and bass, we know who’s playing.
Harry Belafonte with Zoot Sims Quintet: “The Night Has A Thousand Eyes”, recorded 1949, released on Jubilee Records. Belafonte, at the beginning of his career, is joined by young turks Sims, pianist Al Haig, guitarist Jimmy Raney, bassist Tommy Potter, and Haynes, who was beginning to travel the byways of modern jazz in New York. Roy commits to the light, rumba-esque beat with panache.
Lester Young: “Sunday”, radio broadcast from the Royal Roost, probably April 1949. Almost a Bud Powell/Max Roach tempo, Prez burns and Haynes lights it up for three thrilling choruses. After trumpet (Jesse Drakes), trombone (Ted Kelly), and piano (Junior Mance), we get two stunning choruses of fours between Lester and Roy, glory be. Roy had just turned 24, and he sounds exactly like himself— precise, almost even-eighth note on a high-pitched cymbal, with a high, tight snare drum and a low, thuddy bass drum in constant communion with the soloist. Special thank you to Loren Schoenberg for making this music available.
Lester Young: “Ding Dong”, recorded June 1949, released on Savoy Records. A much more widely-known track, Haynes is confident, assertive, and instantly recognizable. Haynes “dit-dit-an-dit-dit” solo break announces his arrival, while his intense, understated, minimally-accented ride cymbal provide a perfect platform for the soloists; Lester even plays half-time against Haynes’s relentless up-tempo. The three exchanges Roy shares with Lester drive home the point: Haynes has a complete conception of jazz drums.
Charlie Parker: “Ornithology”, recorded June, 1950. From Bird At St. Nick’s, released on Jazz Workshop Records. With Red Rodney on trumpet, Al Haig on piano, and Tommy Potter on bass. Haynes surrounds Bird’s wildly inventive, almost experimental solo with the same detailed tapestry of snare, bass, and ride cymbal that he used with Lester Young. The rhythmic unison between Bird and Haynes at the top of Bird’s first chorus tells the whole story— complete communication, empathy, and dialog.
Charlie Parker: “Embraceable You”, recorded June 1950, from Bird At St. Nick’s. Bird starts off with his signature “Embraceable You” motif, and eventually, Haynes is answers Bird with 16th notes on the bass drum! This is a choice I’ve never heard another drummer make on a ballad, and it somehow works. It always sounds soothing to me, like Roy is telling us to take it easy, boom boom boom boom.
Sarah Vaughn: “Just One Of Those Things”, recorded August 1957, from Sarah Vaughan and Her Trio at Mr. Kelly’s (Roulette). With Jimmy Jones on piano and Richard Davis on bass, Haynes is the epitome of a ‘singer drummer’, fully supportive of Sarah Vaughan. But in the cracks, Haynes’s accents and tiny fills suggest the future. Speaking of Richard Davis and Roy Haynes….
Andrew Hill: “Wailing Wall”, recorded December 1963, from Smokestack (Blue Note). Richard Davis with a bow is certainly the star of the track, but Haynes hypnotic cymbal sits at the center of Hill’s evocative, heartbreaking composition. In December 1963, probably Roy Haynes was the only person who could have made this composition with these players come together so successfully. Bravo!
Jackie McLean: “Revillot”, recorded August 1964, from It’s Time (Blue Note). Trumpeter Charles Tolliver wrote the tune, and Haynes and McLean are joined by Herbie Hancock and bassist Cecil McBee. Haynes is 39 years old here, confident, assertive, and at home with the most advanced sounds of the day. Roy sounds so great— swinging and inventive, using some Afro-Cuban or Afro-Caribbean logic to hook up with up Herbie and McBee and push the music forward.
Gary Burton: “Portsmouth Figurations”, recorded August 1967, from Duster (RCA). With Steve Swallow on bass, and Larry Coryell on guitar, Roy had a part to play in the birth of fusion. Though it’s not a “fusion drum solo”, something about Roy’s energy fits perfectly with Coryell’s post-“Eight Miles High” vibe.
Archie Shepp: “Fiesta”, recorded January 1968, from The Way Ahead (Impulse). Leaving no sound unexplored— unmastered— Haynes is liberated and joyous with Archie Shepp. Their opening duet is the clearest demonstration of Haynes’ mastery of this sound. When Ron Carter and Roy Haynes settle into the calypso-esque 10/4 or 5/2, worlds have peaceably collided. Shoutout to trumpeter Jimmy Owens, who takes a great solo here.
Alice Coltrane: “Leo, pt. 1/pt. 2”, live recording April 1976, from Transfigurations (Warner Bros.). With Reggie Workman on bass and Ms. Coltrane on organ. This is undoubtedly the same drummer from Bird At St. Nicks; the bass drum alone is unmistakable. Haynes is gently embedding Alice’s music in more-or-less 4/4 swing, never boxing her in, using the most finely honed bebop wisdom. Every few seconds, the trio comes to a natural rise, to which Roy adds just the right amount of intensity, and then they move on; this track could go on forever, from one hill to another. Haynes’ solo on “Leo pt. 2” is a celebration, as he explores some motifs, plays some fusion-inspired licks, and lightens the mood while maintaining the overall effect of the piece. Haynes’s single-headed multi-tom Ludwig kit, featured in print ads around this time, sounds really great here.
Roy Haynes has always been himself, it’s just the music that’s changed. Respect and gratitude, and long live Roy Haynes!
Happy B-Day Roy Haynes.
I wanted to include a recording that Mr. Haynes mention in an interview many years ago.
When asked if there was one recording that was a favorite of his playing, he mentioned the 1955 recording Introducing Nat Adderly, originally released on Wing records and reissued on Emarcy.
The songs are very short, but it's a textbook of where Mr. Haynes took the be-bop drumming language and began to expand it. His playing hadn't evolved into his most open, modern approach, but you can hear it beginng to show up in bits and pieces.
One other period of Mr. Haynes playing and evolution that gets slept on is during the years he had the Roy Haynes Hip Ensemble. He was playing a big Ludwig drumset with concert toms and combining rock, funk, jazz, and a bit of free playing in this group. I believe there is only one record of the group but they performed in New York City in the 1970s a lot.
Another excellent & informative post, Vinnie. Thanks so much!!