Though legendary drummer Roy Haynes lived to be 99 yrs. old, it is no less a sad, sad moment when I learned of his passing on November 12th, 2024. How does one properly pay tribute to his remarkable musicianship and career? Honestly, I don't know, but I will try my best. In the end, Roy was one of the most recorded drummers in Jazz History. Imagine going back to 1947 and playing and recording with Lester Young! The sound of his drums and cymbal choices were so very unique, giving him a kind of crisp and bright sound - different from the greats of all of the eras that his career spanned. But perhaps best of all was his very conversational style of playing, the particular bounce in his swing, and his manner of interacting with the songs and the soloists. These was no one like him. "Snap Crackle" was a nickname bestowed upon him during the 1950's and lovingly reflects his special sound, be it with brushes, and his unparalleled usage of his hi-hat.
    As I often do when we have lost one of the greats of our music, I make a small collage of 5 of my favorite recordings - in this case, these recordings featured Roy Haynes on drums though he recorded some 30 albums as a leader or co-leader. The albums represented in this collage are: From 1968, Chick Corea's "NOW HE SINGS, NOW HE SOBS"(Solid State/Blue Note). Alongside Chick and bassist Miroslav Vitous, they served to define anew just what is possible in the very noble piano trio format, an astounding achievement. Here, of course, we have one of the most famous stories in Jazz as on this album, Roy used Chick's now famous flat ride cymbal and established a sound and feeling that set a standard that would last right until the present. Perhaps that flat ride became as famous as the sizzle ride of Elvin Jones. From 1962, McCoy Tyner's "REACHING FOURTH"(¡mpulse!). Joined by bassist Henry Grimes, the performance of "Have You Met Miss Jones?" became an instant standard for its super brisk tempo, memorable arrangement and the spirit of the interplay. It demonstrates just how much music and playing can be presented in just 3:48! From 1963, John Coltrane's "NEWPORT '63"(¡mpulse!) which combined performances from the Village Vanguard and the Newport Jazz Festival. From 1963, Andrew Hill's "BLACK FIRE"(Blue Note); and lastly, from 1967, Gary Burton's "DUSTER"(RCA) which, in its way, became a landmark album for the coming Jazz/Fusion Era because of the presence of guitarist, Larry Coryell. Roy's contributions to just these 5 favorites of mine were so propulsive, inventive and special that this is why I had to include each of them.

    Some of the other great, great artists and recordings of theirs that featured Roy Haynes would have to include: Miles Davis "Miles Davis and Horns"(Prestige)(1956); Bud Powell "THE AMAZING BUD POWELL"(Blue Note)(1952); Milt Jackson "MEET MILT JACKSON"(Savoy)(1956); Charlie Parker "BIRD AT ST. NICK'S"(Jazz Workshop)(1958); Sonny Rollins "THE SOUND OF SONNY"(Riverside)(1957); Thelonious Monk "MISTERIOSO"(Riverside)(1958); Art Farmer "PORTRAIT OF ART FARMER"(Contemporary)(1958); Kenny Burrell "A NIGHT AT THE VANGUARD"(Argo)(1959); Eric Dolphy "OUT THERE"(New Jazz)(1961); Oliver Nelson "BLUES AND THE ABSTRACT TRUTH"(¡mpulse!)(1961); Stan Getz "FOCUS"(Verve)(1962); Andrew Hill "SMOKESTACK"(Blue Note)(1963). Perhaps under appreciated by some, to hear Roy Haynes' playing amidst Hill's very individualistic approach to the piano and the trio context, here with two acoustic basses, Richard Davis and Eddie Khan - and, of course, a superb Rudy Van Gelder recording. Archie Shepp "THE WAY AHEAD"(¡mpulse!)(1968); Freddie Hubbard "SWEET RETURN"(Atlantic)(1983); Pat Metheny "QUESTION AND ANSWER"(Geffen)(1990); and Chick Corea "REMEMBERING BUD POWELL"(Stretch)(1997). Roy's playing throughout Powell's "Tempus Fugit" is sublimely masterful - a true work of art. His accompaniment of all of the solos is something to hear. interaction at its finest!!! And two of Roy's own recordings, "OUT OF THE AFTERNOON"(¡mpulse!)(1962), which featured Roland Kirk, Tommy Flanagan and Henry Grimes with a classic album cover photo; and "LOVE LETTERS"(Eighty-Eight's)(2002). Forgive me if I have left off favorites of yours.

    To have been alive and to have experienced seeing him play many times, and to have enjoyed so many recordings on which he was featured has been a great privilege. Rest in peace dear Roy!!! You will always be appreciated, beloved, admired and respected!!! - Steve

Addendum: As a young aspiring musician seeking a life in Jazz, the album covers and liner photos played such a huge role in my imagination of what all of these places, studios would be like. The Burt Goldblatt cover photo for Roy Haynes' "OUT OF THE AFTERNOON"(¡mpulse!)(1961) album left such an impression on me, but then, I had no idea where that photo could have been taken. Little did I know that it had been taken just outside of Rudy Van Gelder's famed studio, a converted barn in Englewood Cliffs, New Jersey. I would find it hard to believe that there could a single musician who was lucky enough to walk through that door and into that room didn't feel something special, something bordering on a highly spiritual experience. It was as if a world that was in color could suddenly turn into black & white, and you could feel the ghosts of sounds past floating around that room and bouncing off the walls, the large square tiles of the terra cotta floor, and those high wooden ceilings. It probably compares to entering an ancient European cathedral, or something like that. It was that powerful.
    When I was finally fortunate enough to begin to get called for recordings at Rudy's, I was always early, and arriving in the traditional Babe's Cab, coming down the driveway, I could actually see the area where the "OUT OF THE AFTERNOON" photo had been taken - and, of course, I had to go and stand in that spot to feel the spiritual vibrations! It was magical. When I finally entered the room, the recording studio, I was in that room completely alone - just me and all those ghosts floating around. The sounds of 'Trane; Hancock; Tyner; Shorter; Hubbard; Lee Morgan; Joe Henderson; Wes Montgomery; Jimmy Smith; Horace Silver; Bill Evans; Kenny Burrell; Cal Tjader; Bobby Hutcherson; Elvin; Tony Williams; and countless others. Of course, by the time that I was actually recording at Van Gelder's the truly great, great years were long behind us all.
    And so, i made a point of also sitting on the stairs where we have all seen John Coltrane and Archie Shepp picture on the cover to Shepp's 1964 album, "FOUR FOR TRANE"(¡mpulse!) - that too was truly spiritual and magical for me. It becomes something that one never forgets. So, sharing the large version of the photo to Roy Haynes' album cover from 1962 here just below becomes extra special for me. I hope that everyone enjoys seeing it.