Kevin Whitehead

IDing the members of her trio on stage, Vaughn took to giving them an introduction fans would echo ever after.

He liked smart clothes, fast cars, and staying in shape. Roy Haynes prided himself on his fluid beat. He wasn't one for practicing the rudimental exercises drum students learn early. Like other heavy swingers at the drums, he'd give two-beat patterns a triplet-y, three-beat feel for tumbling headlong momentum.

He liked smart clothes, fast cars, and staying in shape. Roy Haynes prided himself on his fluid beat. He wasn't one for practicing the rudimental exercises drum students learn early. Like other heavy swingers at the drums, he'd give two-beat patterns a triplet-y, three-beat feel for tumbling headlong momentum.

He liked smart clothes, fast cars, and staying in shape. Roy Haynes prided himself on his fluid beat. He wasn't one for practicing the rudimental exercises drum students learn early. Like other heavy swingers at the drums, he'd give two-beat patterns a triplet-y, three-beat feel for tumbling headlong momentum.

Haynes could be crafty, playing behind Thelonious Monk live in 1958, sometimes matching the pianist's intransigence with a bit of his own. In the early 60s, Roy Haynes subbed in John Coltrane's quartet when Elvin Jones was unavailable. A few years later, he connected with a young pianist whose father he'd known in Boston, Chick Corea.

Haynes could be crafty, playing behind Thelonious Monk live in 1958, sometimes matching the pianist's intransigence with a bit of his own. In the early 60s, Roy Haynes subbed in John Coltrane's quartet when Elvin Jones was unavailable. A few years later, he connected with a young pianist whose father he'd known in Boston, Chick Corea.

Haynes could be crafty, playing behind Thelonious Monk live in 1958, sometimes matching the pianist's intransigence with a bit of his own. In the early 60s, Roy Haynes subbed in John Coltrane's quartet when Elvin Jones was unavailable. A few years later, he connected with a young pianist whose father he'd known in Boston, Chick Corea.

His trio album, Now He Sings, Now He Sobs, with Miroslav Vitos on bass, was an instant classic that had spawned a few sequels. Check out Roy Haynes' creative work on cymbals, hi-hat, and snare drum on Matrix. He's a sleek modern designer in sound. Roy Haynes at age 43, 1968. By the 1990s, Roy Haynes was a widely respected jazz elder known for his unfailing good taste.

His trio album, Now He Sings, Now He Sobs, with Miroslav Vitos on bass, was an instant classic that had spawned a few sequels. Check out Roy Haynes' creative work on cymbals, hi-hat, and snare drum on Matrix. He's a sleek modern designer in sound. Roy Haynes at age 43, 1968. By the 1990s, Roy Haynes was a widely respected jazz elder known for his unfailing good taste.

His trio album, Now He Sings, Now He Sobs, with Miroslav Vitos on bass, was an instant classic that had spawned a few sequels. Check out Roy Haynes' creative work on cymbals, hi-hat, and snare drum on Matrix. He's a sleek modern designer in sound. Roy Haynes at age 43, 1968. By the 1990s, Roy Haynes was a widely respected jazz elder known for his unfailing good taste.

He was choosy about who he recorded with, not just anyone who had the money. Besides leading his own bands, he'd reunite with former comrades like Chick Corea, Sonny Rollins, and Pat Metheny, and connect with young bloods like Christian McBride, Joshua Redman, and Roy Hargrove.

He was choosy about who he recorded with, not just anyone who had the money. Besides leading his own bands, he'd reunite with former comrades like Chick Corea, Sonny Rollins, and Pat Metheny, and connect with young bloods like Christian McBride, Joshua Redman, and Roy Hargrove.

He was choosy about who he recorded with, not just anyone who had the money. Besides leading his own bands, he'd reunite with former comrades like Chick Corea, Sonny Rollins, and Pat Metheny, and connect with young bloods like Christian McBride, Joshua Redman, and Roy Hargrove.

In the new century, Haynes assembled his so-called Fountain of Youth Band, which featured a series of up-and-coming players. That band's last release session comes from 2011, when Roy Haynes was 86, capping a 65-year recording career studded with more jazz classics than we have time to even hint at. He was a heavy hitter whose limber beat could lift a bandstand.

In the new century, Haynes assembled his so-called Fountain of Youth Band, which featured a series of up-and-coming players. That band's last release session comes from 2011, when Roy Haynes was 86, capping a 65-year recording career studded with more jazz classics than we have time to even hint at. He was a heavy hitter whose limber beat could lift a bandstand.

In the new century, Haynes assembled his so-called Fountain of Youth Band, which featured a series of up-and-coming players. That band's last release session comes from 2011, when Roy Haynes was 86, capping a 65-year recording career studded with more jazz classics than we have time to even hint at. He was a heavy hitter whose limber beat could lift a bandstand.

That's alto saxophonist David Sanborn at his best. Scalding, eruptive, passionate, and phraseologically unpredictable. Jazz, blues, and gospel fused in his sound, and his ability to play with anybody from the Butterfield Blues Band to David Bowie to Tim Byrne made him a longtime presence and musical catalyst on late-night TV as a host, band member, or guest.

That's alto saxophonist David Sanborn at his best. Scalding, eruptive, passionate, and phraseologically unpredictable. Jazz, blues, and gospel fused in his sound, and his ability to play with anybody from the Butterfield Blues Band to David Bowie to Tim Byrne made him a longtime presence and musical catalyst on late-night TV as a host, band member, or guest.

That's alto saxophonist David Sanborn at his best. Scalding, eruptive, passionate, and phraseologically unpredictable. Jazz, blues, and gospel fused in his sound, and his ability to play with anybody from the Butterfield Blues Band to David Bowie to Tim Byrne made him a longtime presence and musical catalyst on late-night TV as a host, band member, or guest.

In a jazz setting, no one framed him better than arranger Gil Evans with the open-ended 12-minute Sanborn Concerto, Short Visit from 1977. As capacious as jazz is, some talents are too big for just one field. Entertainment dynamo Quincy Jones made a splash from the start as a spectacularly talented, fresh and original writer for big band in the 1950s.