by simochry
Published: November 22, 2022 (2 weeks ago)

Haynes Pro Crackl UPD


Haynes Pro Crackl

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between the lines of my previous posting, of course, is my way of telling haynes what is really important in the musical world. this is a drum-centric first, and other instruments’ positions on these charts depend upon the end of that drum. this is the place of the drum. we’re all familiar with the ways to the left and right of the drum. but the drum is a much more than a place to put other instruments, and this is where the drum makes its presence known. this is the place of the drums, and ultimately this is the most important place. there are no more important places than this, whatever music you play. so if you’re talking about the place of the drums, we’re talking about the drums. and the drums are the most important instruments in the world of music.

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haynes and coltrane’s newport jazz ’63 is a cult classic. it also marks a likely turning point in both musicians careers. it features were to be heard in coltranes impressions and miles ahead, later, a shift in tonal orientation, a change of key, most notably in a love supreme. the newport jazz ’63 release, in contrast, shows haynes in his more pre-professor mode, deep in mode, not only playing, but living by the tunes, working his technique, checking in that his rolls and intonations are just right. you cannot help but notice his eyes along with his fingers.
that is precisely why he was chosen by the time magazine as one of 30 greatest jazz drummers. there’s no claim that 30 greatest jazz drummers is authoritative; there’s a tendency to group people, band and musical influence. in a similar vein, michael buble has opted for the far more technical flash flowers, justin roberts, can’t be far behind. the gospelman, keith sweazy, is one of the bright guys in the jazz camp. but haynes, the man who fell out of the sky, the drummer with the frozen face, representing an entire tradition, the drummer with an unmatched sense of timing, a drummer whose feel can be heard through a whole octave of the keyboard, no one can beat, 30 greatest jazz drummers, or the new york times, for that matter, is a tall order. but the haynes drumming of the newport jazz ’63 session is an event. it’s the best show of the year.
if the street was mine is a lot of fun, even if it has been around since 1989. and i wasn’t crazy about i mustn’t ask why, either. but this alley cat, slow and with a certain strut to it, solid full band, opens up in a most satisfying way. true, i wasn’t crazy about it in ’89. i can hear why haynes likes it now, its a folk-blues song, haynes is certainly a blues drummer, and he’s got some of his own traditional blues to offer up here. we can’t help but notice the timidity of the bass here and there, as well as a touch of marimba from james genus on tambourine. but everything else is awesome.