Haynes, who died Nov. 12, was a heavy hitter, whose limber beat may elevate the bandstand. His 65-year recording profession was studded with extra classics than we’ve time to even trace at.
TERRY GROSS, HOST:
That is FRESH AIR. We will bear in mind drummer Roy Haynes. He died November 12 on the age of 99. He was one of the vital in-demand drummers in jazz, working with Lester Younger, Miles Davis, Charlie Parker, Bud Powell, Stan Getz, and Sarah Vaughan, and lots 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 appreciated 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 couple of traditional information with drum intros that grabbed your consideration and sparked the motion. This 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 another – 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 help a soloist and when to impress them. He grew up in Boston, selecting up the sticks round age 7, and began enjoying professionally earlier than he even had a full drum set. His dad and mom had been from Barbados, and a wide range of Anglo and Latino Caribbean rhythms would inform his phrasing.
On a 1951 Charlie Parker file 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 possibly can 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 Warfare II ended, absorbing the music uptown and down. He landed a selection two-year gig with saxophonist Lester Younger in 1947, and by the early ’50s, leaders had been vying for his providers. 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 appreciated sensible garments, quick vehicles and staying in form. Roy Haynes prided himself on his fluid beat. He wasn’t one for training the rudimental workouts drum college students study 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, enjoying 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 number of years later, he related with a younger pianist whose father he’d recognized in Boston – Chick Corea. His trio album, “Now He Sings, Now He Sobs,” with Miroslav Vitous on bass, was an on the spot traditional that’d spawn a couple of sequels. Try Roy Haynes’ inventive work on cymbals, hi-hat and snare drum on “Matrix.” He is a modern, fashionable designer in sound.
(SOUNDBITE OF CHICK COREA’S “MATRIX”)
WHITEHEAD: Roy Haynes at age 43, 1968. Within the ’70s, jazz received louder and he bashed a bit extra, joking later that his sticks resembled baseball bats.
(SOUNDBITE OF ROY HAYNES’ “EQUIPOISE”)
WHITEHEAD: By the Nineteen Nineties, Roy Haynes was a broadly revered jazz elder recognized 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’ve time to even trace at. He was a heavy hitter whose limber beat may elevate a bandstand.
(SOUNDBITE OF ROY HAYNES’ “GRAND STREET”)
GROSS: Kevin Whitehead is the creator of “Play The Approach 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 12 months, 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 right now. I hope you will be a 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 right now’s present. Our co-host is Tonya Mosley. I am Terry Gross. All of us at FRESH AIR want you a Pleased Thanksgiving.
(SOUNDBITE OF ROY HAYNES’ “GRAND STREET”)
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