Haynes Mini R50

Here you have three absolutely breathtaking jazz performers locked into a studio for a day or so. From this combination of guitar, standup bass, and acoustic drum kit, you've got nine tracks of sheer jazz joy – three guys just blowing for the hell of it, recorded on the fly. There's a strong sense here that engineer Rob Eaton probably tried to get everybody properly set up and balanced before the session started and just gave up when everybody started playing. It's a delight to hear, because everything has gone into the performance, which is spontaneous and graceful – no going back for the next take here. Pat Metheny's playing is definitely modernistic, highly fluid, almost liquid lightning – no effects boxes here, though (he does play Synclavier on the last track, "Three Flights Up," but it's great anyway). Roy Haynes, likewise, should be heard by anybody wanting to get behind the traps: this man has a sense of humor, and he's a blur of motion. Dave Holland, on bass, is no slouch either, keeping pace with Metheny's guitar lines, and balancing up against Haynes' drums. Together, these guys are incredible.

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…

For those who attended any concert on the Warren Haynes Band's tour in support of the brilliant Man in Motion, this three-disc package – one DVD and two CDs – is your keepsake. The set features stretched-out versions of all but one track from that album performed live at Austin's Moody Theater in 2011. In addition, his killer sextet offers readings of two tracks from Haynes' first solo album, Tales of Ordinary Madness, a new version of Gov't Mule's "Frozen Fear," and a host of great covers: from Sam Cooke's "A Change Is Gonna Come" and Jimi Hendrix's "Spanish Castle Magic" to Steely Dan's "Pretzel Logic." Haynes' live band is a crack outfit.

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.

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.