Roy Haynes is one of the best...and still playing
douglasnegley | Pittsburgh, Pa. United States | 09/08/2003
(4 out of 5 stars)
"This recording is one I listen to specifically for Roy Haynes. I swear, at times he is more melodic than Roland Kirk. What a joy to hear a drummer 'play' the melody - or even just be melodic. Many drummers don't even understand what that means. Once, Jimmy Ponder was playing with a drummer (and ONLY a drummer) who had great chops, and was doing a good job, under the circumstances, of keeping it going. When it came time for his solo breaks, Ponder would occasionally turn and whisper, "Play the melody!" The drummer (a young buck) would look at me with an expression like a deer caught in headlights. During the break, he asked how in the world does a drummer 'play the melody'. I told him that you can do it in a variety of ways, like alluding to it in your rhythm, and then I suggested that he listen to Roy Haynes, among others, but I specifically gave him this CD to punctuate the point. As much as I like the drumming on this (and almost any other Haynes work), I have to agree that this is not of 5 star quality - the best of the best. That doesn't diminish it as a CD at all. I love Henry Grimes' bow bass work on "Raoul", and Kirk is inventive as always, especially on "Snap Crackle". A great Roy Haynes CD."
Some of the best jazz drumming ever
Alexey Berlind | Oakland, CA | 02/03/2006
(5 out of 5 stars)
"As a drummer I find this album out of this world. Roy's approach to comping and soloing is as melodic and tasteful as it gets, and the way he plays solos while the bass walks behind him is unique and incredibly musical. Without ever being overbearing, his drumming is wonderfully featured here and to be relished through every track. A total must for any appreciator of bop drumming and a great jazz album in general."
Haynes + Kirk = An undervalued classic of jazz invention
Martin Paule | 05/22/2009
(5 out of 5 stars)
"Among the pantheon of jazz giants, Kirk and Haynes rank high on my list. Kirk, who amazingly, was sometimes dismissed as a novelty act on account of his multi-horn chops, had already created an enviable catalog of jazz sides for the Bethlehem and Emarcy labels. A brilliantly inventive improviser, fluent on numerous reed, wind, and brass instruments, Rahsaan Roland Kirk was also a masterful melodist who loved working with drummers who possessed a strong melodic thrust. Kirk and Haynes prove to be perfect foils for one another. Aside from playing off each other throughout this gem of an album, Haynes and Kirk demonstrate their eclectic and broad-ranging tastes on subtle, subdued ballads with Haynes working his brushes masterfully as well as hard-bop smokers where the two maestros keep upping the ante. As an unabashed groupie, I had the privilege of meeting and conversing with Rahsaan a number of times in the early and mid-'70s as well as witnessing some titanic performances. One such indelible show was in the summer of '72. In a final set at the intimate Lighthouse club in Hermosa Beach, Kirk played an all-gospel medley ending with his powerful take on the chestnut "Old Rugged Cross". Kirk had mastered a technique known as circular breathing allowing him to hold a note (or chord when playing multiple horns) indefinitely. With his left hand fingering his tenor sax and stritch (an antique reed instrument) forming a powerful held chord, Rahsaan extended his right hand to the crowd that came forward one person at a time to take his his hand. When my turn came, the contact was electric. It felt like a form of benign electricity was coursing through by body and being. Now, before you dismiss this as hippy-dippy blather, I must admit that I'm sometimes dubious about others reporting these sorts of experiences. And I've never had any other experience approaching this since. Anyway, if you're impressed with Kirk and Haynes, you're in luck. Kirk was prolific and Haynes continues to turn out brilliant albums to this day."
Track Listings (7) - Disc #1
