You'll Hear It: Full Album Deep Dives with Jazz Musicians - Best Drummer Of The Past 99 Years

Episode Date: November 21, 2024

Roy Haynes! The greatest to ever do it - join us as we remember the life and legacy of one of the true legends of Jazz history.Reaching Fourth - McCoy TynerColtrane Quartet 1963 NewportMatrix - Chick Corea David Letterman feat. The Fountain Of Youth BandFreedom Band - Chick Corea Quartet 2010Unlock your FREE Open Studio trial to become a better player today.Looking to drop a question? Want to listen to the audio pod? Look no furtherhttps://youllhearit.com/Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open Studio🎹 Head over to our YouTube channel for a better look 👀.Follow us on Instagram

Hey, Adam. Yo. Will we ever hear drumming like this again? No. Not for at least another 99 years, Peter. I'm Peter Martin. And you're listening to the You'll Hear It Podcast. Music, Explored.

Explored today brought to you by Open Studio. Go to OpenSudio. Go to OpenSudio, jaz.com. Oh, your jazz lesson needs Peter. Today, we are honoring another great that we've lost. Yes. The great Roy Haynes. Yes.

Maybe the best drummer of the past 99 years? Well, you know, he's right up. during the conversation. This is where Haynes playing with the Bud Powell trio on Inner Fires from 1952. That's ridiculous. So this is going back a little ways, right? Salt Peanuts, of course. All of the tributes

that I've seen on social media over the last two days honoring the great Mr. Haynes have really noted that like you'll see pictures of him playing with like Charlie Parker. Yeah. In like a black and white photo. Yeah. From way back in the day.

And then you'll see pictures of him playing with like Pat Mathini in 2006 or something. Right. And it's just like, how can one person span so much of incredible music? We've got videos of him here, like when he's 86, sounding unbelievable. And then there's recordings like this when he's just a kid practically. Yep. Just sounding, I mean, this is like decades and decades of really, really high-level musicianship.

I personally find it incredibly inspiring. It is. It sets the bar. Roy Haynes sets the bar. He's one of a select group of jazz musicians that, lived well into their 90s. Yeah. That I think really set the bar

as an inspiration for all of us. I mean, really beyond just musicians, you know, and artistry at that age, to be thinking on your feet, to be performing at a high level, to be... Stylish AF.

You know, humorous to be with it, to be engaged with humanity, to be giving to humanity, right? Well, I love it too, because it kind of like goes against the old trope of, you know, we always honor these musicians that are gone too, soon or they go out in a flame of, you know, creative energy or whatever. But like, some of our

favorites have longevity. Exactly. Roy Haynes, you know, Wayne Shorter was making this amazing music all the way up until the very end of a long life. Of course, it's always a sad day when they go, but I think this is a celebration of like one of the most amazing lives lived in the past hundred years. Absolutely. And what we listened to on the way in was, as we said, Bud Powell True, that's actually Charlie Mingus on bass, which kind of puts things into perspective, you know, for Roy Haynes. And when he, you know, came of age and his longevity and his contributions to the music, he was born in 1925. Do you ever think about 19? Do you remember 1925? No, I don't. 1925 is a lot closer to WW1 than it is to WW2. That's one thing to think about. And which is closer

than Vietnam War or any of the other things. Like, you know, I don't know why we're always comparing them to when wars were. But I mean, Major event. The 20s, the Roaring 20s, pre-Great Depression, I would imagine. Yeah. I would imagine. I guess we could verify that if we wanted,

but yeah, it is. So Roi Haynes famously is from Boston, from the Roxbury neighborhood of Boston, which is a really interesting area. Still is today. It had a lot of creatives and intellectuals and famous folks, Malcolm X, in the autobiography of Michael X,

probably gives the best portrait I've ever read about Roxbury and all the jazz music that he heard coming up there. But Roy's family was from, both his parents were from Barbados, the island of Barbados in the Caribbean. Yeah. Rihanna in the house.

Is Rihanna from Barbados? Yeah, there you know. Yeah. So, and then, you know, I know there's other jazz musicians who have, you know, connections, Ruben Rogers, Ron Blake, you know,

folks that I play with a lot that are from St. Thomas, St. Croix, but also Greg Hutchinson, whose parents were both from Trinidad. Yeah. So that's just an interesting thing in terms of Roy Haynes' heritage.

And then, you know, he played with, like, we're going to listen to some different examples. And this was definitely hard for me to come up, like to sort of pin it down to just a few. Dude, this show could be five hours long. Yeah, yeah. I mean, he's one of the more recorded musicians in history. He's played with everybody.

It's going to be a good one. So we're going to try to kind of hit on some different periods. But, I mean, he came up playing when he first came to New York with Lester Young, Charlie Parker. Actually, do we have that picture of him with Charlie Parker? And I believe this was with Ming. Phelonian, yeah, look at that. So this is from, I'm not sure what year it is,

but look at Rohan's back there. You know, so we can kind of compare. A young bandus, a young everybody, right? Amazing. Look at the upright piano. You know that was. But then also Roihanes played with Saravan for quite a few years in the 50s, when she was really, you know, really at the peak of kind of doing her things,

was part of her regular trio. Oh, that famous break. Roy, da-da-da-da-da-ha-ha-hames. Yes. Yeah. Exactly. Exactly. But I think what's interesting, too, I'd love to get your take on this.

And we're going to actually the first example of this. We'll listen to this. Roy Haynes was a fantastic piano trio drummer. Maybe the best ever. Can I throw that out there? Reddemundo, yeah. Perhaps. He's in that good, like Vernal Fornia, of course, known for his work with the Amad Jamal Trail.

But Roy Haynes, I mean, Tommy Flanagan, Hank Jones. McCoy Tyner. McCoy, Tyner, Chick-Corea. Michelle Petruciani. Do wonderful stuff there. Floress Monk. Finney is newborn. He's one of these musicians that can step in any situation.

Like you said, whether it's backing Saravan and doing the tasteful things that a drummer has to do when they're accompanying a singer, especially in that era. And then can step in with McCoy and Bash, or Train even, and Bash, and then do some incredible

subtle things with Chick-Korea. It's just, it's really, and then even later in life, like, playing with Pat Mathini. It's just unbelievable. the scope that this musician can do, and all with, like, an incredible personality. It really reminds you as an artist. On and off the man stand.

Oh, my gosh. I mean, at the instrument and away from the instrument. Yeah, I mean, we talked about this quote that Quincy Jones brought up, this video that's been going around, passing Quincy Jones as well, but your music can only, can never be, I forget who was a singer who told him this, I believe,

but your music can never be. Rihanna? No, Rihanna. Good guess. But your music. Your music could never be more or less than who you are as a person. Right? And Roy is another great reminder of that.

That like there's no barrier between off and on the band stand. Your personality is your art. Absolutely. And it's a great reminder of that. And don't, like I always like to think about it too as, you know, the levels of artistry and even the levels of technique and technical excellence that one would have on their instrument. So for Roy Haynes at the drums, like the higher level. that you have in terms of technical expertise

and artistic excellence, the closer the person and the player become, the person and the artist. Like, the personality is able to be not only exemplified in specific things that they play, but just, like, holistically in their style. So, like, in other words, you're hiring Roe Haynes, you're getting Roy Haynes, the person,

the artist, the drummer, and they're all pretty much the same. Yeah. Like, to me, that's the highest level. Well, we talked about this a little bit last week that it's just like with Lou Donaldson. It's just like, you know, you spend your early part as you're learning the music, just adding all the stuff on and mimicking the people that you love. And you spend the rest of your life just trying to chisel away at stuff so that you're allowing yourself to come out as purely as possible, like you, who you are.

And then you realize, well, I need to actually, like, work on that person. Yeah. So that that's an interesting person. Yeah. So that I'm communicating my personality. And I think, again, no one typifies this better than someone like Roy. Haynes, who's able to step into any situation, be totally themselves, and yet fit the situation really, really spectacularly every time. Absolutely. So we heard 1952, 1953 with Bud Powell Trio.

So, you know, Roy's already 26, 27 years old at that time already. Still young, but I mean, when we look at and we listen and we hear from that period, he's already fully formed as Roy Haynes. Yeah. Like you're going to hear like some of those stylistic things that bass drum sound, which was so unique, so copied by other drummers in terms of like the tuning and the resonance of it. But like he was fully formed in terms of his style. I think what made him unique, you know, as an artist, was like hitting that level early.

That's not necessarily that unique. A lot of these great artists hit it by their early 20s, for sure, or even before. But then maintaining it, being able to take it to different situations from behind the drums, you know, and later on as a leader often as well, but always sort of leading from the drum. drums, certainly when we talk about piano trios, we're going to listen, we're going to kind of jump

ahead a little bit to 1962. Okay. McCoy Tyner. Of course, you know, and we'll get to that too, Chick-Korea. I think he's mostly a sodia just because there was such a longevity of them playing together. Gazuntai, the silent sneeze of November. This room has been making me sneeze all week.

I don't know what's going on in here. Gotcha, got you. There's something that's in the air. There's something sneezy. Maybe it's my little kitty cat that I brought with me this week. How did you do that? I have no idea. Okay, so this is McCoy Tyner Trio. This is one of my favorite early McCoy records. How did you refer to this? You said, we were talking about this earlier, like, this is the period of like pre-forthy.

Yeah. Even though this is called reaching forth. But it's not so forthy. It's pre-forthy. It's so great. There's kind of, there's fourthy elements. It's fourth-y adjacent. Yeah, it's fourth-a-adjacent. And it's definitely McCoy all the way, but there is a little bit of an early. Oh, dude. I love this impulse area. of McCoy records so much. I've listened to all these million times. So great. Some of the great trio record. Like, because McCoy is such an outsized influence on

and an integral part to the, of course, John Coltrane quartet, that we think about him as a quartet pianist or whatever, but as a solo pianist, as a trio pianist. I love him because they're not, they're not as precious as like the real McCoy or, or it's still him forming, McCoy forming.

And it's a different sound on the impulse. And certainly with Roy Haynes instead of Elvin Jones. Definitely. But this is, have you met Ms. Jones from McCoy, Tyner. This is fantastic. Henry Grimes on bass, McCoy Tyner.

Yeah, Henry Grimes on. On the drums, of course. That brush word, come on. And the way he breaks it up. Look how young McCoy is there in that photo. This is a great cover.

It is. All the impulse covers. Killing. Sorry, can we go back and hear that break? Killing the cover and the branding. The branding's great. Look at the color on the fonts. That's it.

Inside baseball there. Woo. Double wooberg. Roy Haynes made me the most woo-worthy drum break practitioner. Yeah, so good. Some close mic in on that snare. Guster Caleb is nodding in agreement. Oh, no, he's just listening.

He's nodding in agreement with the music. Sorry. Man, this consistency of the groove and then the choice of the... Oh. Of the booms, the accents. So that's 1962. That's Roy Haynes. I think, you know, you really hear that direct line.

And we wonder how much Roy is part of that between Bud Powell and McCoy Tyner. Like the lineage from Bud Powell to, of course, monk, more like contemporaries and, like, influencing each other. But Bud Powell to Chick, McCoy and Herbie. I mean, like, that's an important thing. Of course, Wynne Kelly, Red Garlander, right in there in between as well. Yeah. Oh, it's great. Again, can't recommend enough.

All of you, check out those McCoy-Tiner Impulse Records. The Live at Newport one, we're going to do something later on that one because it's... I've got it up here right now, actually. But... Oh, you're talking about the McCoy Live at Newport. The McCoy Live at Newport, yeah. Well, this is a good segue, actually, to what I was going to play next, which is just from a year later, in 1963, John Coltrane Quartet, live at the Newport Jazz...

Oh, interesting. With the classic quartet, but Roy Haynes stepping in for Elvin Jones and, you know, playing my favorite thing, something very much associated, of course, with Train, this iconic quartet, you think about nobody is replaceable or sub, like when we talk about first call subs, that's a hard quartet. But Roy Haynes, somehow he manages. This is so good. Yeah.

This is so good. But it's a different way of playing with the piano with the McCoy Trillo. It's so different for it. It's got that Roy Haynes tightness. It does. You know, like it's tight and criss. It's not like some kind of elven. I'm going to step in and just do elven.

But he doesn't kill the vibe. He does his thing and it's got that lilt. And it's more like snare driven maybe than it is ride symbol. It's good. It's really, really, really good. So that's 1963 live in Newport. Now, this is a record, I think. Maybe I should have your introduce it because you love this record.

Sue you. You love it. Nobody actually sue us when we say. Peter says sue me a lot, but please don't. Don't. Okay, so the album that I'm to introduce, I assume you're talking about Chick Koreas now he sings now he's not. Ever heard of it? Yeah. Yes. It's one of my favorites. I'm going to sue you for that. Don't sue me. It's one of my favorites. This is Miroslav. Yep. Vitros on bass. It is Roy Haynes on the drums. And this to me is when, as a listener, when I discovered this album, I was like, besides just the overall vibe, right? And I actually discovered this record before I discovered any McCoy-Tiner albums. So, because I was pretty young when I found this. this. And I had yet to discover, like, the real McCoy or any of those early impulse McCoys. And so I come to realize later that, like, this is, like, heavily influenced from McCoy, which is great that you played that earlier reaching force, because I think that's a direct thread

that Roy is on that, and then Roy is on this. Because I feel like this album is influenced by, this is, like, Chick is obviously influenced by the McCoy sound. But this is when I was like, Roy Haynes can do anything. Right. Like this is so interesting the way this is recorded, the way that they sound together, the crispness again of the snare drum

and the sort of like the snap crackleness of it. Yeah. Just the poppiness of it. It isn't the same album without Royhan. Royhan's nickname, by the way, snap crackle. I know.

Yeah. And I know you don't love the piano sound on this, but the way that the, the way that the mid- I love the piano player. The way that the high-mids and the very high register on the piano are recorded,

In, together with, of course, the bass sound, but mostly with the ride and the snare drum, to me makes this some kind of emotional roller coaster. And so maybe we could play The Matrix, the first track. This track we played lots on, you'll hear a podcast. It's called Matrix. It's an F blues, so keep that in mind. And here's where the blue starts here.

That's part of it. Oh, the drum sound I love. The bass sound I love. Oh. It's everything. Man, Roy and John. chick are so dialed in like conversationally oh barrislaw doesn't get any better yeah the next course and i know again you're not a huge fan of the that blue note piano stuff but the way that it's

hollowed out up there yeah like roy's ride symbol is giving the piano an attack my best part's about to come hold on don't don't leave me it just yet this line here apex apex mountain of the solo well Well, two minutes ago you said, can it get any better? I said, yes, it will. Okay. No, but you see what I'm talking about, about how the sound of the piano, like, Roy's crisp, somewhat dominating ride symbol sound. It's all up in there. It is giving an attack to the piano.

Yes. Like, they are working together, and their time is so locked in together. It is like, they must have high-five the shit out of this session when they were done. Right. Could you imagine ending that and being like, cool? Oh, I wonder if they were like, ah, should we do another one? They were like, no. It's a special recording for sure.

It's fantastic. And I think, you know what's, and I never thought about this before. But so Roy Haynes was already like the OG old head elder statesman. It's 43 years old year. Yeah. She career is like 26, 27 years old or whatever. It's also inspiring for, I'm 45. It makes me feel like I can still make a contribution.

I know. Well, and this is. I'm not that I'm Roy Haynes, but like, it's pretty, pretty, again, inspiring. But would we say that like Roy, like, Like I kind of postulated earlier that like he had his sound very early. Like I think like most, if not all great artists. All the great. But like right around here, this period, like he really got to sort of the apex mountain of his influence on drummers.

You know what I mean? Like the stuff before was like this is this is where it was like. And also Chick Korea too, even like if we look at the McCoy trio, I mean six years earlier in 1962 that we listened to like Roy Haynes incredible trio drummer. but like the influence in terms of people copying him. It was maybe more like Elvin with Train. But now it's like, whoa, this is a whole other way. That goes all the way up to today of how to play as a trio. And of course, this trio did some great recordings for ECM,

kept playing together for years, and really sort of set the standard and the influence for a lot of the great trios going forward. I would say as much, if not more than Bill Evans'. In actuality, everyone always says like Bill Evans' trio influenced our generation of pianists the most for trio playing. I think it just depends on the pianists. You know, people have more or less influences.

But I don't know. For me, this Chick-Korea trio, incredibly influential. Yeah. And for everybody I know. And this was just the beginning of it, I believe, right? Or right around the beginning of it. And it's, yeah, it's very good. And they're going to come back around, too.

Those two. Yeah, exactly. Yeah, Chick and Roy. How would you rate the album cover? I always wonder. I know this is not an official, like. Is that where they recorded the album? Was that just a chick's house?

I was like, is that why everything sounds so dead? Is it because of the Shag carpeting? It's because the Steinway's brown. No, all I think about when I think about is that that's a famous French painting with the guy with the red scarf in the back. It's in like every single French restaurant in St. Louis. Toulouse Lichet.

Is that Toulouse Lich. There's like a version of that guy. There was one at like Balabans and... Ballet Bon. Yeah. Yeah, anyway. Okay. I think about restaurants when I see that cover. I know, not the greatest.

But one of Chicks' greatest albums for sure. Okay, we're going to jump forward a little bit because we've got like what the real kind of crux of what we want to do is to check out something. It's actually from 2010, and this is from 2011. So we're going to go a little bit out of order. But I just sort of found this thing. I had never seen this. I think it's so cool if we could bring up the video on here. This is Rohr Haynes in 2011 on the David Letterman Show.

It's kind of self-explanatory. Our guest received earlier this year, the Lifetime Achievement Award, Grammy for his six-decade career as one of the preeminent drummers in jazz, and his forthcoming record album, Do This Fall, is entitled Royalty. Ladies gentlemen, please welcome along with the Fountain of Youth band, Roy Haynes. Roy, let's go. When she kept playing with Fountain Youth,

it's just a few years ago. 86 and playing is ass. He was high. And with like, doing it with so much style, too. a little show on the saxophone. And jacket. Keep it going, man. Keep it going.

Keep it going. Keep it going. Good. I mean, may we all be so lucky to be able to do that at 86? At 86. The power. Maybe we'd be so lucky to do that at 46. I know.

But man, the power that he's playing with, but he's got the, look at that. Wow. Ladies, gentlemen. Very nice. Good. Everybody. I mean, that's so joyful, man. Perfect.

Shout out David Letterman for, for a. for that little piece of cultural. Letterman's a drummer, you know, like Letterman loves drummers. There's a whole compilations you can find on YouTube of just Letterman going nuts after a band's performances. Yeah.

And this is why, like, when he was, when he went off the air, like he loved the foo fighters because it was like a band of drummers, essentially. Right. You know, and he loves, he loves, like,

given the drummer some after their performances on his show. Well, I mean, and there's a couple of things that are just amazing about that. It's just a joyful musical performance, an incredible drum solo. that Roy Haynes does.

But it transcends so much of the, look at that old dude, he can still play. No, no, no. I mean, like, he's, I think that's kind of apex mountain for everything. Well, actually,

the next thing we're going to hear, which is from the same time period. But it's not even about an old dude thing. That's what I'm saying. Are you listening to him? Are you listening to me? I'm agreeing with you. I'm agreeing with you.

That's what I'm saying. Like, there's the novelty of like, but notice Letterman didn't say his age, I don't think or anything. No. And so I think most people that would see that, I'd be like, oh, this guy's, I mean,

he can still play pretty good. But I would just say that like his, you know, his technique, which has always been off the charts. I mean, that's one of the things he's known for. But to be refined in a way to be able to play, it's very hard to just get up on these TV shows. And it's like you're sitting around. Now play for three and a half minutes.

Exactly right. He put together three minutes of fire for the audience. And it was entertaining. He ended with just stomping on the kick drum and standing up. And the bands behind them. The monitors are weird. And it's like the lights are on. He knows what he's doing.

It's not like the end. that sounds like how a great drummer would sound at the end of a set at the village vanguard, where you've built up. Yeah. Not where you're like, play, I play something, you know? Totally. So that makes it even more impressive, you know, to be interesting and entertaining. Again, just nothing but inspiration.

Yeah. Incredible. And shout out to the Fountain of Youth Band. That's a great name for a band when you're in your 80s, is to hire a bunch of young cats to be your fountain of youth. Because I was thinking about this as watching that. Like, it's almost like, you know, for those of us who do it, jazz isn't even

I mean it's it is an art form but it's also kind of like a martial art you know what I mean that you have to stay connected with you have to like practice all the time tell me sense of it's not like being a pop

musician where you like you wrote all your songs when you're Bob Dylan when you're in your 20s and then and your early 30s and then like now you're just kind of playing them again and again like to actually play black American music at a high level and improvise at a high level you have to, like a martial artist,

you have to keep sparring with people. And you have to spar with people who are younger than you. And it really is. You have to enjoy it. Because you're not going to do it otherwise. You're not going to do it otherwise. There has to be joy there.

There has to be growth there. You have to be still practicing and trying to get better at things or else you're just kind of dead in the water. You know what I mean? Yeah. So that's what I was thinking of as I was watching that. It's just like, it is a fountain of youth.

Like the music is a fountain of youth. Right. Staying connected to it. Right. Well, and then, so obviously, longevity, was a huge do we have any of those older more recent pictures of

Roy Haynes because of course he's known anytime you make it past 90 or really past 80 and you're still playing and stuff and of course this is just from a couple years ago this was a pick that so he really towards the end of his life he goes for this like Western

almost like Ralph Lauren look you know what I mean yeah it's incredible so he was known for his style famously he was in what I believe was I might be mistaken. It was definitely 1960. Esquire magazine,

Best Dress Man in America. 100%. With a very small group, it was like Fred Astaire, Miles Davis, Clark Gable, and Carrie Grant, and Roy Haynes.

Now, Miles Davis, of course, was known to the general public and whatever. I don't think that Roy Haynes was known like Miles Davis and Clark Gable at that time.

So that was a real insider pick, but known for his style. I think that was the first year. They did the best dressed. And he keeps it up. His whole life, into his 80s, into his 90s,

Like, you know, that jacket is bespoke. Yeah. Not just like a stupid you'll hear it term. But like that's an actual bespoke jacket that he's wearing. Can we see that? Do we have that other pick of him too, perhaps? Or in the same one's cool. Let's just, let's just bathe in the beauty of Roy Hane's style here.

And then I'm ashamed by what I have on, man. No, you look good. The boot collection is off the chain. Look at the beard. Beard is good. Look at the beard. Beard on point. And I can't wait until my beard goes white.

It's kind of look great. giving jazz drummers, you know, that have style, shouts out, but also giving vertically challenged bald gentlemen jazz musicians a little style, too. Roy Haynes. A little personal for you? A little bit. I get a little tear here. No, Wurhains famously, not the tallest, not the shortest, but not the tallest.

Did you know that? That's great. Yeah. No, so, I mean, I got a chance to meet Roy Haynes a couple of times and hear him play live a few times. And it was special. You know, it was, it was a special thing. So, okay, the last thing we're going to listen to,

and this is by special request from you, I believe. This was, I believe, no, actually, no, I heard him since then. But this was a period where I heard Rohane's the most. Actually, right around with the Freedom Band. What started out originally all the way back in the 90s, I believe is the Bud Powell Tribute Band, of course, with Chick-Arya, his longtime compatriot. But this is 2010, live at Marciette.

Chick-Korea, Kenny Garrick, Christian McRide, Roy Haynes. So, 2010, he's about... He's 85. Yeah, it's right around the Letterman time. But this was like a full-on concert, but I saw him play a lot during this period. And, you know, because I was a little younger, I was like, wow, even at that age, you know.

But this was also just one of the best bands from during that period. Chick-Korea started putting... I mean, he always did, going back to... Some great trios. The original trios. But also, like, he started putting together different theme bands.

So I believe one of them... Actually, you know, the... Powell band, I guess, was Joshua Redmond, and maybe it was with Kenny Garrett's, too. I can't remember. But Roy Haynes was there as well. Yeah, yeah. In 90s, exactly. Mid-late 90s. But this is from 2010, Christian McBride, as I said. And then we kind of, we were looking through this, and this is actually, if we can pull up the video, this is the encore where they come back. The whole thing, we'll have a link to this. The whole concert's amazing. Marciac Jazz Festival, August, early August of 2010. But this is the

encore when they came back out straight-note chaser in F. Oh, with special guests sitting in as well. On just this tune. Chick. Oh, come on, chick. Is that Roy Hargrove? Yep. Somebody give that sound tech a raise.

Okay, I hate to even do this, but we're going to jump up to, in the interest of time, great. It's amazing to hear Roy with this. And it's also, frankly, it's a real reminder of, of, of the precious gift of life because we've now lost Roy Hargrove, Roy Haynes, and Chick-Korea, and they passed away in like reverse order of their age. That's right. You know what I mean? Like so it's not just this linear thing life is. It's a real reminder to take every day.

And, look, Kenny Garrett and Christian McBride aren't going anywhere anytime soon. But let's also, let's also appreciate them, all these great artists. I mean, like I heard this band play a lot this year and the year prior to the next. Actually, I can't remember when they were touring again, a bunch live over in Europe in the summer. And it was like, man, that band was fire. As you can see here. And so to have this documentation of it. But Roy was like really the heart and soul of it.

Like, Chick-Hare-like, you could tell, like, he, Chick-Haria was, I mean, Chick-Forea was so great at leading bands from behind, right? But he also, like, could sense that Roy Haynes was, like, the heart and soul and gave, like, gave him that space to be that. Let's be perfectly honest. Every dude on this stage is a great bandleader. Yeah, of their own right. Like some of the best band leaders in jazz right here, all of them. Yes.

And so they, and when you do that, when you have experience with that, you kind of appreciate knowing what you have and chick, no one better than that. Yeah. And I mean, of course, look, Christian McBride is just like he's the glue. Yeah. That's there. You know, like, you can see it, you can feel it. Yeah.

Christian McGrath is a gift to the music. This is some cool stuff just getting into kind of the really interactive stuff Roy Haynes and Chickoria were known for, that telepathy. Always a wry smile from Chick after the second. I know. Yeah. Yeah, Chick and Roy had that playfulness. Tasty.

So silly. Next to my cop behind Christian, I'm going to get busy like chickens, my lines. See if I can get away with it. I feel like. See if you get a look. Yeah. But it's the same thing Roy's doing. You know what I mean?

Like you said. But they know Christian can take it. take that and absorb it. I mean, and also it's like, in case you were wondering who the best bass player in the world is, this will prove something to you. Look at Roy's play.

That's some good snare technique right there. But, you know, they're playing a lot, a lot. But they're not overplaying. They're not stepping on anything. They're talking. I'd be overplaying. I can hear myself overplaying. No, you'd be in there. Yeah. I mean, that's as good as a guess. Yeah. Yeah, this was a great band. This was a real

This was kind of an Apex Mountain for like 2000s jazz, I think. For sure. This band, this way of playing this kind of leadership from every position, you know. I mean, this is the way an All-Star band's supposed to be. Not this like jumbled mess. This is like there's a cohesion of artistry here that's really. And Roy doing his thing. Oh. I have to say, I think that they heard it.

Which makes me think that you'll hear it.