Haynes Mini R50

These four segments are really one continuous free style improvisation between trumpeter Herb Robertson and drummer Phil Haynes, conveniently divided between pauses for listening purposes. There are extremes in dynamics and tempos, all of which are realistically captured by CIMP's unique engineering technique of recording unadulterated sound…

Produced by Chuck Leavell, Warren Haynes' first solo album is a refreshing change of pace from his work with the latter-day incarnation of the Allman Brothers Band. Although the feel of this album is undeniably classic rock, with much of Free's bluesy swagger, it is also vaguely reminiscent of '80s rock at times (check out the Mr. Big-esque verse to "Fire in the Kitchen"). The focus on Tales of Ordinary Madness is clearly on Haynes' songwriting chops. For the most part, the songs on this record are tight and concise, focusing on immediate riffs, gritty vocals, and cool arrangements to sell them.

There's rare and then there are records like this: a limited vinyl release in Japan in 1975 that's never been reissued anywhere else in any format since. Perhaps that's not completely surprising, though: to be frank, it feels like something of a footnote to the career of the illustrious Haynes, which began almost 30 years earlier in the first full blast of be-bop. Here, electric piano and a twanging, slightly-too-high-in-the-mix bass guitar nod towards the fusion that was fashionable at the time: ‘Azteca’ is an up-tempo latin original with blazing hi-hat; while the title track (subtitled ‘Bullfight’) is a slightly corny Iberian-flavoured foxtrot. The two standards hint at Haynes's roots: ‘Tin Tin Deo’ is a leisurely vamp, and ‘Dear Old Stockholm’ is a trio with Nakamura sitting out and Barron switching to acoustic piano. It sounds exactly like what it is: a laid back jam session. And why not?

The odd title of this album is taken from the lyrics to a Minutemen song, but the listener will hear a lot more Anthony Braxton and Roscoe Mitchell in Randy McKean's work than any punk band. Indeed, the recording is dedicated to the former and includes two pieces by the latter. McKean's compositions tend to be knotty, post-bop structures with an underlying sense of swing and good humor, much in the manner of his mentors…

Fifteen years later, but well worth the wait, Joel Haynes is back with his third album 'The Return' on Cellar Music. The Toronto-based drummer laid down the album in Vancouver with an all-star band including Seamus Blake on saxophone, Neil Swainson on bass, and Tilden Webb on piano. Fine original compositions are juxtaposed by some killer covers including 'Tomorrow Never Knows' by The Beatles.

There's rare and then there are records like this: a limited vinyl release in Japan in 1975 that's never been reissued anywhere else in any format since. Perhaps that's not completely surprising, though: to be frank, it feels like something of a footnote to the career of the illustrious Haynes, which began almost 30 years earlier in the first full blast of be-bop. Here, electric piano and a twanging, slightly-too-high-in-the-mix bass guitar nod towards the fusion that was fashionable at the time: ‘Azteca’ is an up-tempo latin original with blazing hi-hat; while the title track (subtitled ‘Bullfight’) is a slightly corny Iberian-flavoured foxtrot. The two standards hint at Haynes's roots: ‘Tin Tin Deo’ is a leisurely vamp, and ‘Dear Old Stockholm’ is a trio with Nakamura sitting out and Barron switching to acoustic piano. It sounds exactly like what it is: a laid back jam session. And why not?

We Three, recorded in a single session on November 14, 1958, was the first American studio date as a bandleader for the diminutive and legendary jazz drummer Roy Haynes, although with pianist Phineas Newborn on board (along with bassist Paul Chambers), it really is a set dominated by Newborn, whose busy, two-handed technique here works in tandem balance with Haynes' cool refinement. Newborn was all about amazing and dazzling piano runs that on some dates created simply too much flash and clutter to allow pieces to flow and breathe properly, but Haynes has always been about grace and flow throughout his career (if a drummer's style can said to be elegant, Haynes fits the bill), and here he rubs off on Newborn, who exercises just enough restraint to keep him in the proper orbit, resulting in a fine album…