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Generally, Ervin has been compared with John Coltrane. I may play something that I never heard
before or maybe that you never heard before. Sometimes I take it out, sometimes I'll be polite, nice
and let it move and breathe -- always in the pocket and with feeling. Back in his hometown once
more, the legendary jazz drummer offered glimpsed memories of growing up in the city. In true
Boston style Roy came back and toasted to our good health, everyone had forgotten the legend was
a little older than he looked. The worst surprise is when I can't get it to happen. I used to go to
Carnaby Street, is that still there?” Yes - but it’s not what it was. “I know it’s not, ain’t nothing’s
like it was!” he laughs, with the glee of a man who’s seen most things come and go. “I’m Roy
Haynes and I’m in my eighties, but I’m still fashionable. The music’s giants have wanted Haynes
because, to some, he’s the greatest jazz drummer ever. Check out the list below, which is by no
means exhaustive. If I had to be with him steady - I mean, Charlie Parker didn’t work that steady.
Satchmo, Diz, Miles, Trane, Monk, 'Bird-Haynes played with them all. Those who attend his concert
with his aptly named Fountain of Youth band at the Shea Center in Wayne on Saturday will see he
plays with the kind of energy usually associated with musicians who are decades younger. Two years
later, he worked in New York as house drummer at Birdland and several other clubs on the legendary
52nd Street. Because my brother in Boston was telling me you’ve outlived your father, you’ve
outlived your uncle and all your other brothers. He favors intricate rhythmic patterns that closely
reflect the melodic structure of a composition. His son Graham Haynes is a cornetist; his son Craig
Haynes and grandson Marcus Gilmore are both drummers. From 1947 to 1949 he worked with
saxophonist Lester Young, and from 1949 to 1952 was a member of saxophonist Charlie Parker 's
quintet. Haynes’ passion for his life and music is infectiously apparent. At his second set on March
16, Haynes was a dapper, nimble figure, crouching at his kit with a wiry, coiled aspect, his shirt-cuffs
unbuttoned and folded back. Includes snare technique materials, odd meters, jazz, Brazilian and
Afro-Cuban studies. All levels welcome, and I love solving playing problems! Click the image to
email, or message me at Skype ID todd6ishop. While Cracklin’ smoothly stears along the coasts of
hard bop, post bop and modal jazz, Haynes was cookin’ on another planet with Coltrane, replacing
Elvin Jones, who was out for a snack on Alphabet Street. Job discrimination was commonplace, as
were lower salaries. There are shades of Coltrane in Ervin, but Ervin’s style, albeit thoroughly
modern and obviously not without a certain amount of harmonic prowess, is less complex and has an
emotional directness that reminds us of the Tough Tenors from Texas. His indelible blues wail lands
in your gut like a saucy and hefty kidney stew. I must admit I felt I was in the presence of a timeless
man, timeless for the fact he didn’t look 86 nor did he play like an 86 year old. Pianist David
Kikoski has been with Haynes for 15 years, while bassist Dwayne Burno is a recent initiate. I know
in the Seventies, some guy was supposed to bring me something, and it ended up being pure heroin.
Designed for fast learning with minimal technique, for the most real drumming effect for your
practice time. Ilan Rubin Phil Rudd Daniel Sadownick Bobby Sanabria Antonio Sanchez Poncho
Sanchez Mongo Santamaria Cindy Blackman Santana Christoph Schneider.
Moreover, they were on a daring enterprise that the average American still knows nothing of. You
can hear the range in Haynes’s own artistry in his delicate brushwork behind night-bird scat-singer
Sarah Vaughan, his main employer for five years after leaving Parker in 1953, rated higher artistically
than the more iconic Holiday by the man who felt them both breathe, sweat and sing mere feet away;
and then in the way he goes toe-to-toe alone for 12 minutes with the saxophone’s ultimate colossus,
Coltrane, on 1963’s classic Live at Newport. Haynes has been the pulse of modern jazz for nearly 70
years and shows no sign of slowing down. He held his snare-stick loosely, as though it had a life of
its own, powering itself via gravity. Shaw reeled out his slick alto sweetness, while Bejerano poured
out an uninhibited gush of notes, embellishing with great detail and finesse. Black men and women
had to sit in the back of the bus. Bejerano brought his own unique flare to the keyboard, mounting
inventive runs and arpeggios that rivaled any heard on the Classical stage. Emulating the stride piano
and ragtime stylings of Scott Joplin and James P. In 1950, he had the first of many tours of duty
with Stan Getz. The Boston Haynes (pictured left) was born into in 1925 made him worldly. “Man, I
lived across the street from a synagogue,” he recalls. “We had Irish people living on one side of the
house and French-Canadian on the other. He's been an active bandleader from the late '50s to the
present, featuring artists in performance and on recordings like Phineas Newborn, Booker Ervin,
Roland Kirk, George Adams, Hannibal Marvin Peterson, Ralph Moore and Donald Harrison.
Technique, jazz comping, funk, odd meters, Afro feels, much more. Later, in Chicago, he sat and
listened as the genial Satch told dirty jokes. I didn’t go back to school much after that.” Haynes
found steady work in a section of Boston called Bowdoin Square, playing for servicemen getting
ready to fight in World War II. Community Rules apply to all content you upload or otherwise
submit to this site. At the age of seven, he was entranced by the lady next-door playing Gershwin on
Sunday nights. The incomparable Dee Dee Bridgewater presents “To Billie With Love: A
Celebration of Lady Day, Friday, January 13 at 8pm. Haynes also makes something special of the
lovely melody by Hubert Gireaud, Under Paris Skies. Print and e-books. Books of the Blog include
all downloadable materials from the site for that year. Gene Lake Don Lamond Thomas Lang Dave
Langguth Shannon Larkin Pete LaRoca Sims Karl Latham Rick Latham Trevor Lawrence Jr. His
1960 album on Impulse, Out Of The Afternoon, featuring Roland Kirk, Tommy Flanagan and Henry
Grimes, is a perennial favorite of jazz fans around the globe. YouTube’s privacy policy is available
here and YouTube’s terms of service is available here. Jack Bruno Mark Brzezicki Roy Burns Ronnie
Burrage William Calhoun Clayton Cameron Matt Cameron Gorden Campbell Teddy Campbell
Tommy Campbell Emmanuelle Caplette Danny Carey Keith Carlock Bun E. As a logical
consequence of his authority, Haynes recorded prolifically as a leader. I let it loose, I let it go, I see
where it's going and what it feels like. Charlie Parker, John Coltrane, Miles Davis, Pat Metheny and
Chick Corea are among the many luminaries who have continually called on him to help them shine.
Occasionally he’d falter a fraction, and I’d hastily scribble something like, “he’s mellowed; he’s not
his former, razor-sharp self.” But this is too critical. There are shades of Coltrane in Ervin, but
Ervin’s style, albeit thoroughly modern and obviously not without a certain amount of harmonic
prowess, is less complex and has an emotional directness that reminds us of the Tough Tenors from
Texas. Joined by his aptly-named “Fountain of Youth” band (Jaleel Shaw on saxophones, David
Wong on bass, and Martin Bejerano on piano), Haynes’ concert last Friday showcased his breadth of
experience, and his mastery of the stylistic spectrum. He has covered VinItaly in Verona,Italy for the
past several years, and was a judge for both the 2012 and 2013 International Wine Competition in
Verona.
It featured tenor saxophonist Booker Ervin, pianist Ronnie Matthews and bassist Larry Ridley. He
was Sarah Vaughan’s drummer of choice for much of the 1950s and played with every great star of
the era, and also led his own bands. Poor You, Little Me ( Frank Wess ) 1963: Smokestack (Andrew
Hill) 1963: Newport '63 ( John Coltrane ) 1963: Destination. His conception was technically brilliant,
infinitely supportive, always sounding fresh. Theme,” and solo on “Muffin” recorded on Tommy
Flanagan’s “Trinity,” 1976. Pianist David Kikoski has been with Haynes for 15 years, while bassist
Dwayne Burno is a recent initiate. He held his snare-stick loosely, as though it had a life of its own,
powering itself via gravity. A perpetual top three drummer in the Downbeat Readers Poll Awards, he
won the Best Drummer honors in 1996, and in that year received the prestigious French Chevalier
des l'Ordres Artes et des Lettres. Casey Scheuerell’s Masterful Drum Pocket on Chaka Khan’s “And
The Melody. He worked extensively in the Boston area while still a teenager, and then moved to
New York after he was hired by Luis Russell in 1945. Those youngbloods include two newcomers to
Haynes' circle, altoist Kenny Garrett and tenorist David Sanchez. During “These Foolish Things,”
Wong took a bass solo and Haynes went for a short wander, occasionally leaning back to make brief
hits on a cymbal or a skin. Was my enjoyment inflated out of proportion by my respect for his
vigorous old age. He plays the London Jazz Festival on Friday, as he mostly does these days, with
his Fountain of Youth band - named as a nod to the Haynes who on their 2006 album Whereas looks
a trim and muscular super-fit 60, and still drums with urgent imagination. Later, in Chicago, he sat
and listened as the genial Satch told dirty jokes. In true Boston style Roy came back and toasted to
our good health, everyone had forgotten the legend was a little older than he looked. The material on
this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the
prior written permission of Advance Local. Switching between sticks I was hypnotised forgetting to
focus on his drumming technique but getting carried away in the sheer buzz and rhythm from Roy
and his American band (Martin Bejerano on piano, David Wong on double bass and Jaleel Shaw on
saxophone). I don't play for a long period, and then I'm like an animal, a lion or tiger locked in its
cage, and when I get out I try to restrain myself. Booker Ervin is a stimulating presence on any
session, Cracklin’ is no exception. In the past, he endorsed Ludwig and Slingerland and he has been
photographed playing Latin Percussion, notably congas. Late in life, Haynes made not one but two
Grammy-winning albums: Fountain Of Youth (2004) and Whereas (2006). He worked extensively in
the Boston area while still a teenager, and then moved to New York after he was hired by Luis
Russell in 1945. I must admit I felt I was in the presence of a timeless man, timeless for the fact he
didn’t look 86 nor did he play like an 86 year old. He has covered VinItaly in Verona,Italy for the
past several years, and was a judge for both the 2012 and 2013 International Wine Competition in
Verona. That in itself is something to think about, man.” Haynes played with Armstrong in October
1946, hurrying across Harlem to fill a vacancy on the bus to tour tobacco warehouses across the Deep
South. Astonishingly, lynchings were still not completely extinct below the Mason-Dixie line.
Hearing it in the august setting of Symphony Center under ideal acoustical conditions gave it the
context and the respect that it deserved. So that’s how hip Charlie Parker was,” he wryly concludes.
I may play something that I never heard before or maybe that you never heard before.
Casey Scheuerell’s Masterful Drum Pocket on Chaka Khan’s “And The Melody. And I’d sip on that
Coca-Cola for an hour, and listen. There are a million reasons why you shouldn’t miss this show, not
the least of which being that the music will be fantastic. In 1950, he had the first of many tours of
duty with Stan Getz. Someone could tell you something years ago and it might not work now. He
was joined by long-serving quartet comrades bassist David Wong, pianist Martin Bejerano and alto
saxophonist Jaleel Shaw. He sported one of the biggest ties known to mankind, very loosely knotted
to allow maximum freedom of movement. Astonishingly, lynchings were still not completely extinct
below the Mason-Dixie line. In 1945, he got his big break from Luis Russell, pianist for King Oliver
and musical director for Louis Armstrong. I may play something that I never heard before or maybe
that you never heard before. Transcriptions of Tony Williams, Billy Higgins, Frankie Dunlop, Ed
Blackwell, Elvin Jones, more. Simply enter your email address in the box below View previous
newsletters. When I left the hall I felt truly blessed to have seen such pure talent perfected with age
yet still youthful in spirit, truly Roys’ Fountain of Youth with waves of sound. I mean, what other
drummer has done anything like that. I guess a lot of us, whether we had those kinds of problems in
life or not, had devilness in us. He held his snare-stick loosely, as though it had a life of its own,
powering itself via gravity. At one point during his wide-ranging hour and a half long set, Haynes
stepped back from the drums and broke into another mock tap dance that ended with a leap and a
flurry of footwork upon landing. Noted as a band leader as well as a “hard swinging” drummer Roy
would randomly get up and work the band, beating his sticks and playing with the crowd. But here
too, few see the whole picture, here too Starbucks has won over more fans than Charlie Shavers.
Switching between sticks I was hypnotised forgetting to focus on his drumming technique but
getting carried away in the sheer buzz and rhythm from Roy and his American band (Martin
Bejerano on piano, David Wong on double bass and Jaleel Shaw on saxophone). Haynes has a
daring fascination for such extremity. When not travelling with Russell, the young drummer spent
much time on Manhattan's 52nd Street and uptown in Minton's, the legendary incubator of bebop,
soaking up the scene. Flyin’ with Bird, The One, in angst-ridden post-war USA, which saw The
Russians marching. Roy Haynes plays the Royal Festival Hall, London, 18 November at 7.30pm, and
is interviewed at the Queen Elizabeth Hall, London at 6pm Watch a clip from A Life in Time: The
Roy Haynes Story. Haynes chose to pare his palette down to just one cymbal. On April 21, 2016, at
the age of 91, Haynes performed drums on The Late Show with Stephen Colbert, accompanied by
Jon Batiste and Stay Human (band). During “These Foolish Things,” Wong took a bass solo and
Haynes went for a short wander, occasionally leaning back to make brief hits on a cymbal or a skin.
In fact, a teacher in school once sent me to the principal, because I was drumming with my hands on
the desk in class. Two years later, he worked in New York as house drummer at Birdland and several
other clubs on the legendary 52nd Street. I’m not a drummer that has chops continuously - bbrrr-rrr-
rrrr-rrr all the time.
At 20 years of age, he collected a letter inviting him to join Luis Russell’s band at the Savoy
Ballroom in Harlem. Haynes had used Paiste flat rides in the past, thus indicating he may have
endorsed Paiste at some stage. Haynes began his full-time professional career in 1945. Snare
exercises, jazz waltz and Afro-Cuban studies, transcriptions of Tony Williams, Jeff “Tain” Watts, Ed
Blackwell, and much more. The set opened with him playing solo, establishing a feel for his
bandmates to follow. Primarily self-taught, he began to work locally in 1942 with musicians like the
Charlie Christian inflected guitarist Tom Brown, bandleader Sabby Lewis, and Kansas City blues-
shout alto saxophonist Pete Brown, before getting a call in the summer of 1945 to join legendary
bandleader Luis Russell (responsible for much of Louis Armstrong's musical backing from 1929 to
1933) to play for the dancers at New York's legendary Savoy Ballroom. Jack Bruno Mark Brzezicki
Roy Burns Ronnie Burrage William Calhoun Clayton Cameron Matt Cameron Gorden Campbell
Teddy Campbell Tommy Campbell Emmanuelle Caplette Danny Carey Keith Carlock Bun E.
Community Rules apply to all content you upload or otherwise submit to this site. Gadd, Tony,
Dejohnette, Roy Haynes, Terry Bozzio, Billy Higgins, and others. His conception was technically
brilliant, infinitely supportive, always sounding fresh. Walfredo Reyes Buddy Rich Dannie Richmond
Sean Rickman Alex Riel Karriem Riggins Ben Riley Herlin Riley Jim Riley John Riley Ringo Max
Roach Lil John Roberts John J.R. Robinson Pete LaRoca Sims Bobby Rock Derek Roddy Calvin
Rodgers Mickey Roker Bobby Rondinelli Joel Rosenblatt Tony Royster Jr. When not travelling with
Russell, the young drummer spent much time on Manhattan's 52nd Street and uptown in Minton's,
the legendary incubator of bebop, soaking up the scene. During “These Foolish Things,” Wong took
a bass solo and Haynes went for a short wander, occasionally leaning back to make brief hits on a
cymbal or a skin. Eyes closed with a broad smile spread across his face, he throws his arms high in
the air before bringing them snapping down on his high-tuned snare. When someone else is playing a
solo, I am decorating it, with things that come to my mind, things I hear. Follow us OUR
NEWSLETTERS Legal notices Terms and conditions of use Management of personal data and
cookies Contact Press Close What are you looking for? Search. I've been playing professionally over
50 years, and that's the way I do it. Some said it was fear for and jealousy of abandon and sex that
troubled them. Haynes still possesses a strong attack, but remains one of the most subtle
percussionists around, starting with tiny rolls and building toward a rumbling onslaught. During a
wonderfully moody rendition of the Cole Porter classic, “My Heart Belongs to Daddy,” he rocketed
the intensity through a magnificent arc: starting at a whisper, he rose to a ferocious height that
drowned out the band, before standing up and walking round the stage, tapping out the fading beat
on his sticks. Even though his touch frequently was light, Haynes still can drop a deep bomb,
surprising with its sudden intensity. Back in his hometown once more, the legendary jazz drummer
offered glimpsed memories of growing up in the city. In fact, a teacher sent me to the principal’s
office one day because the other students were paying more attention to me than they were to the
teacher. Pretty nice.” “How old was he then?” Haynes says. “Because I was always thinking people
were older, when they died. The audience immediately jumped up as Roy left the stage, we had
sampled his magic music and we wanted more. The Boston Haynes (pictured left) was born into in
1925 made him worldly. “Man, I lived across the street from a synagogue,” he recalls. “We had Irish
people living on one side of the house and French-Canadian on the other. His patterns were
constantly bouncing in directions that listeners couldn’t anticipate and finding fresh accents. The
most democratic of arts that crosses racial, age and gender boundaries and is not about division but
inclusion and unity. I deal with sounds. I'm full of rhythm, man. I feel it. I think summer, winter, fall,
spring, hot, cold, fast and slow -- colors. There are shades of Coltrane in Ervin, but Ervin’s style,
albeit thoroughly modern and obviously not without a certain amount of harmonic prowess, is less
complex and has an emotional directness that reminds us of the Tough Tenors from Texas.