Kevin Whitehead

His parents were from Barbados, and a variety of Anglo and Latino Caribbean rhythms would inform his phrasing. On a 1951 Charlie Parker record date with a Latin flavor, Haynes on drum set seamlessly blends with Afro-Cuban conga and bongo players, then swings in straight jazz time on his own, moving easily from one groove to the other.

His parents were from Barbados, and a variety of Anglo and Latino Caribbean rhythms would inform his phrasing. On a 1951 Charlie Parker record date with a Latin flavor, Haynes on drum set seamlessly blends with Afro-Cuban conga and bongo players, then swings in straight jazz time on his own, moving easily from one groove to the other.

Roy Haynes had moved to New York as World War II ended, soaking up the music uptown and down. He landed a choice two-year gig with saxophonist Lester Young in 1947, and by the early 50s, leaders were vying for his services. Haynes left Miles Davis to join Charlie Parker. He did a season backing Ella Fitzgerald, then five years with the even more acrobatic singer Sarah Vaughan.

Roy Haynes had moved to New York as World War II ended, soaking up the music uptown and down. He landed a choice two-year gig with saxophonist Lester Young in 1947, and by the early 50s, leaders were vying for his services. Haynes left Miles Davis to join Charlie Parker. He did a season backing Ella Fitzgerald, then five years with the even more acrobatic singer Sarah Vaughan.

Roy Haynes had moved to New York as World War II ended, soaking up the music uptown and down. He landed a choice two-year gig with saxophonist Lester Young in 1947, and by the early 50s, leaders were vying for his services. Haynes left Miles Davis to join Charlie Parker. He did a season backing Ella Fitzgerald, then five years with the even more acrobatic singer Sarah Vaughan.

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

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

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.