Roy Haynes - R.I.P. 1925-2024 - Three Vignettes

 © Introduction Copyright ® Steven Cerra, copyright protected; all rights reserved.

I’ll have more to say about Roy in an extensive future piece. Some of these observations on Roy’s style of drumming reflect the fact that he wasn’t what he referred to as a “rudimental drummer.”

Formal drum instruction is based around various exercises associated with the 26 standard drum rudiments which through practice help drummers develop coordination, independence and muscle memory.

Although the current term for it is “intuitive,” what this really means is that Roy was self-taught and his approach to the drums was not formalized by what Joe Morello refers to as “The Rules [aka The Rudiments].”

Over time, Roy developed his own style of drumming based on what he heard in his head, or as Shelly Manne once said: “I refuse to let my hands control my style.”

ALAN DAWSON: “Any Boston drummer couldn't help being influenced by Roy. I must have been eight or ten, something like that, when we first met. Roy always was a topic around the neighborhood. One thing that stands out in my mind about this guy. He always had great confidence in his ability. You never heard any tentativeness in his playing. My late brother said to me one day: ''Roy Haynes sounded the same years and years back. Even then he was a monster! He came to the music and drums ready and capable of dealing with both. Unlike most other musicians, he didn't have to go through a difficult learning phase."

Roy always has been adventurous—absolutely fearless. He plays whatever bethinks is right, regardless of the context. Only in recent years have people come to realize how important and talented he is. For a long time, only musicians, and a few writers close to the music, knew what he could do and how original he was.

Many felt Roy's playing was too far "out there"—beyond understanding— the same thing they used to say about Bird. Roy's breaks sometimes could puzzle listeners. 

As you said, they don't always start on "1." And sometimes they might be short or go beyond "1," whether he was playing a four-bar break or a chorus. He does that purposely. He feels so secure in dealing with the beat and time that he never thinks: "Well, I really have to get this four bars just right." Roy finishes his idea, wherever it takes him. What he does works for him and for the music.”

PHIL BROWN: Roy was the first guy to come along and do something after Max. By 1948, Max had his approach to the instrument perfected. At about that time, Roy was introducing his way. It was totally different from what Max had established and, as far as I'm concerned, far more attractive, hipper, more stimulating.

He had his own language, techniques, and ideas. His breaks were completely different. He played all kinds of intricate things between the beats — ideas that other guys didn't play because their heads didn't work that way.

I heard him every chance I got—at the Savoy with Pres in '47, with Bird and other musicians. He completely gassed me. I bought a drum set just like his — with the three-by-thirteen snare. Roy was using Ludwig drums, so I had a set made up by Ludwig. Roy used a green sparkle. I had my set made up in blue sparkle.

A situation came up regarding the "tiny" snare drum when I went to work for Roy Eldridge. He said: "What are you doing with that? It sounds like a toy!" It didn't have enough guts for the music that the Eldridge band was playing. I had to get another drum. But it was right for Roy because he played all these inside, fast things. He got a lot out of the drum.

Later he began using tom-toms much more, and he was all over the set. He

has done so many interesting things: playing the ride rhythm differently by

stretching it out, approximating straight eighths; turning the beat around;

abstracting the time. What he does not only gives the music a fresh sense of

unity but forces everyone to pay attention.

Roy Haynes is a school of one. You've had countless Max, Blakey, and Kenny Clarke clones. But there's no one who can play like Roy. He's to the drums what Erroll Garner is to the piano. A school unto himself.”

STAN LEVEY: I loved Roy Haynes. He was different than Max, myself, and others. Roy was clean. He had these beautiful suits; he looked so sharp, man. He was a real good player—real good. He had nice time and technique and a beautiful drum set. We used to look at him and say: "How the hell did he do that?" We all knew. Simple. He wasn't a f**kup.