Roy Haynes, pioneering jazz drummer and versatile band leader, dies at 99

As a connoisseur of jazz and a student of its history, I find myself in awe of Roy Haynes’ remarkable life and career. Spanning seven decades, his versatility and skill as a drummer are nothing short of astounding. From Louis Armstrong to Pat Metheny, the diverse artists with whom he collaborated speak volumes about his adaptability and musical genius.

Legendary jazz drummer and bandleader Roy Haynes, who collaborated with an impressive array of musicians spanning various genres including Louis Armstrong, Charlie Parker, Chick Corea, and Pat Metheny throughout his illustrious seven-decade career, has sadly passed away.

It’s been verified by a spokesperson for Haynes that the renowned drummer passed away on Tuesday. His daughter, Leslie Haynes-Gilmore, shared with The New York Times that he succumbed to a short-term illness. At the time of his death, he was 99 years old.

Haynes’ extensive background demonstrated proficiency in virtually every facet of jazz evolution. Regularly tapped for performances spanning New Orleans music, swing, bebop, avant-garde, fusion, modal jazz, jazz rock, acid-jazz, and other styles, he consistently delivered with remarkable talent and creativity.

In the words of critic Stanley Crouch, who is also a drummer, you can sense the spirit of all bandstands, concerts, dances, parties, and jam sessions in Haynes’ rhythm and mastery of pace. Crouch noted that Haynes’ playing style lacks any specific era; instead, it has always been and remains contemporary.

Haynes’ exceptional career as a performer was consistently emphasized throughout the decades whenever he played at the esteemed jazz club Birdland in New York City. Notably, in December 1949, he was the drummer for the group that inaugurated the venue – the Charlie Parker Quintet, featuring special guest vocalist Harry Belafonte.

In the ’40s, when bebop was taking over as the main language of jazz, Haynes’ drum playing remains astonishing. Alongside contemporaries like Kenny Clarke, Max Roach, and Sid Catlett, Haynes played a significant role in evolving the drums from their conventional rhythm-keeping function into a vibrant blend of percussion and cymbal tones, which aimed to keep the music lively and flourishing.

The high quality of his work from that period is apparent on such classic recordings as Parker’s “Anthropology,” Miles Davis’ “Morpheus” and Bud Powell’s “Bouncing With Bud.” Often called “Mr. Snap, Crackle” in tribute to his brisk, articulate drumming style, he wrote a signature tune with the same name for his own 1962 album, “Out of the Afternoon.”

Haynes stood out from his peers due to his consistent openness and ability to adapt musically. As novel ideas and styles emerged – the avant-garde sounds of the 1960s, the fusion trends of the ’70s and ’80s – he swiftly mastered their methods and seamlessly wove them into his enduring musical concept.

2003 saw Pat Metheny remarking to the Philadelphia Inquirer about Haynes’ unique ability to fully immerse in a musical instant. His exceptional listening skills enable him not only to consistently produce beautiful music, but also to share his musical insight with those around him, making them richer for it.

Roy Owen Haynes hails from Roxbury, Massachusetts, where he was born on March 13, 1925. His parents, Gustavus and Edna Haynes, had relocated to the area from Barbados earlier. Among their four sons, Roy was the third, with Douglas being the eldest, a jazz trumpeter who sparked his interest in music. Vincent, another elder sibling, was a photographer and football coach, while Michael, the youngest, held multiple terms in the Massachusetts Legislature.

At just a teenager, Haynes kicked off his professional career around the early 1940s. By halfway through that decade, he was performing with diverse swing bands, along with the Luis Russell big band – one of his infrequent prolonged collaborations with a larger group.

By the late 40s, he joined the group of fresh, young musicians connected with bebop. In an impressive series of performances, he played alongside Lester Young, Bud Powell, Miles Davis, Charlie Parker, Sarah Vaughan, Thelonious Monk, and later George Shearing, Stan Getz, Kenny Burrell, and Lambert, Hendricks & Ross. During the 50s, he collaborated with these artists. From 1961 to 1965, he temporarily replaced Elvin Jones in the John Coltrane Quartet.

During the initial phase of his musical journey, Haynes didn’t garner the same level of recognition from wider jazz enthusiasts as Max Roach, who was older by over a year. This can be explained, in part, because Haynes seldom led his own bands, instead focusing on being an in-demand sideman. He even joked that his priority was ensuring his mortgage bills were paid on time, rather than striving to become a leader in the industry.

But Haynes was always universally admired by other drummers.

In an interview with Smithsonian magazine in 2003, drummer Jack DeJohnette described Roy’s musical talent as exceptionally unique. He highlighted that Roy’s drum tuning, the sound he produces from his drums, his on-stage interaction with musicians, and his blend of street knowledge, refined education, and soul are a seldom found combination.

Although Haynes may not be widely recognized, his intricate yet rhythmically lively approach has left a profound mark. Initially, this influence was felt by drummers like Jones, DeJohnette, and Tony Williams, and more recently, it’s been evident in the playing of Jeff “Tain” Watts, Eric Harland, Matt Wilson, and others.

Suave and space-saving, he effortlessly blended his skillful drumming with a fashionably smart wardrobe. In the year 1960, Esquire magazine recognized him among the most stylish gentlemen in America, alongside Clark Gable, Fred Astaire, and Cary Grant.

During his final years as a performer, Haynes frequently headed a shifting lineup of musicians in a band called The Fountain of Youth. This nickname was quite fitting since the musicians he collaborated with were typically three or four decades his juniors. However, when it came to creating music, from his timeless viewpoint, there were no disparities.

He explained to the Albany, NY Times Union in 2007 that when we take the stage, we all share a common age – this age isn’t defined by your actual years or location, but by your musical abilities.

1995 saw the recognition of Haynes as a National Endowment for the Arts Jazz Master. Surviving him are his daughter and two sons: Graham, a skilled jazz cornetist, and Craig, an accomplished drummer. Notably, their grandson Marcus Gilmore also follows in the footsteps of a drummer. Unfortunately, Haynes’ wife, Jesse Lee Nevels Haynes, passed away back in 1979.

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2024-11-13 04:31