タグ別アーカイブ: Sarah Vaughan

アニタ・オデイさんと一緒に「ブラインドフォールドテスト」

May 29,2020

先日、来日時のスポーツ新聞記事をご紹介しました。今回はアニタ・オデイがダウンビート誌の名物コーナー「The Blindfold Test」に登場した時の記事を添付しました。(1957年4月4日号)

今回もレナード・フェザーが出題した12曲について、アニタのコメント(英語)を翻訳ソフト向けに1曲ずつテキストに変換し添付しました。

1. Betty Roche. Something to Live For (Bethlehem).

I don’t know who the girl singer is, but I like the choice of tune. I’ve known about this tune since about 1941-in fact it was about the first tune I ever played on the piano … (hums)… It’s real pretty. I had never heard the verse before, and I did enjoy this girl on the verse. I didn’t care for the interpretation of the tune after she got into the chorus … I don’t care for that type of singing-it’s too choppy.I think it should be more smooth for this type of tune. I’d have lost the entire theme of the song unless I had known the tune, which fortunately I did. The accompaniment didn’t impress me one way or another. How do I rate it? If I hadn’t ever known the tune, I don’t think it would have done anything to me at all, so I’d classify it “z,” whatever that is. Would “z” be no stars? Okay, no stars.

2.Chris Connor. Something to Live For (Atlantic).

That was a nice version. I enjoyed that much better the smoothness of it … Chris’ flowing tones and the interruptions at the end of each word. Of course, it doesn’t come up to her Lush Life. That’s about the smoothest of the slow tunes she’s done. However, I like this. I think I would even buy this-like if we were on a panel”Would you buy this is it a hit or a miss, quote, Peter?” Not that it would be a hit, but I would buy this, I believe. Sort of category “m” … if the other was “z,” this would be “m.” Three stars.

3. Ella Fitzgerald. My Heart Stood Still(Verve).

Well, I guess if you are an Ella Fitzgerald fan, you would like this very much. However, this old versiondream up a story and sell it to Hollywood … Hollywood’ll buy anything. Who dreamed up Ella singing “and then my heart stood still”? It’s ridiculous. Here’s a girl who sings good swing music… She reads very well on this and she’s got the melody down. Dum, bum, bum, two-beat, ya, da da … boy! this is it for melody and everything, but classing Ella in this kind of a tune-I don’t know. All I can say is, sell it to Hollywood-and they did.The arrangement was pleasant, and Ella didn’t sing badly on it. I’m not saying it’s bad or good, but I think it’s kind of silly—the entire tune with Ella. So much talent and how they’ve used it! As far as buying the record-I’m hung again as to how to class this. It wasn’t so bad musically-it’s a nice record, whatever “nice” is.

4. Sarah Vaughan. My Heart Stood Still(Mercury).

Sarah always relaxes me, because when you hear that it’s Sarah, you know you can say to yourself right away like “this record is going to be played from beginning to end and it’s going to be done very well,” so you don’t have to worry too much about it.There are five placements that one can sing from: The upper front of the mouth; uh-uh; the back of the top of the roof of the mouth; the throat, down into the lower part of the … uh-uh. I don’t know the technical names for these … I did, because I studied it a long time ago, but I know there are five places you can sing from, and Sarah sings from all five of them, which makes her like the queen of singers. This is the lady, queen, princess, or whatever you want to say, but she’s a good girl singer, and I’m for girl singers. I would say this would be rated very good.

5. Rita Reyes with the Jazz Messengers.Taking a Chance on Love (Columbia).

I have no idea who the singer is, and I don’t think I really care to find out. I would say it’s a beginner’s style and really no connection to the music. She’s singing the story all right, but where’s the music? … Chopping the phrasing-I didn’t like it at all. The background of the choruses that followed … the music involved-I would say pretty good be-bopping there, if you’re going that way – not too bad at all, but frankly, if the record was given to me, I think I would give it back. I’d rate it “z.”

Rita Reys (vcl) acc by Donald Byrd (tp) Hank Mobley (ts) Horace Silver (p) Doug Watkins (b) Art Blakey (d) New York, May 3, 1956

6. Patti Page w. Pete Rugolo Ork. Taking a Chance on Love (EmArcy).

There’s a line in the song, “and the act of hearts is high.” This gal gets my heart and aces high to boot! That’s the best record I’ve heard in a long time! I couldn’t tell you who’s singing or the background here. I could speculate, but I won’t. I enjoyed it much, much, very good, a-b-c-d-x-y-z, five stars, thank you, Mr. Feather!

7. Jackie Paris. ‘Round Midnight (EmArcy).

My afternoon is complete. This is the lad-Jackie Paris, of course. And if I were a male-ha! ha! singer, that is, I would like to be Jackie Paris, male singer-that’s the lad. He was associated with Jeri Southern for a long time a long time ago, and that was when I first heard him. He was in New York in 1944 or ’45 when I was with Stan Kenton’s band, and that’s when I first heard Jackie. Then right after I left Stan’s band, I did a single at the Holiday inn in Newark, and Jackie Paris was on the bill. So I got to hear him in person.Why nothing’s happening with Jackie I’ll never know. I followed him in Hawaii about four months ago, and the club owners said business was terrible, but in Hawaii everything is terrible, except the sun, of course the musicians and everything else involved it’s pretty bad. What can you say about Jackie except “this is the male singer”-six stars!

Jackie Paris (vcl) acc by Eddie Shu (hca,ts) Dick Hyman (p) John Collins (g) Tommy Potter (b) Roy Haynes (d) New York, November 12, 1949

8. June Christy. ‘Round Midnight (Capitol).

Well, that should be a big recordbeautiful! Chris really sing’s this … that’s a good one for her. I like the tune much-I’m positive it’s Chris. I think both versions are good. I’ll have to give another six stars.

9. Helen Merrill. By Myselt (EmArcy). Gil Evans, arranger; Art Farmer, trumpet.

An enjoyable rendition of By Myself Alone. I presume that’s the title I’ve never heard the tune before. The girl singer-I could say, but I’m afraid to -Helen Merrill? I don’t know I’ve never heard her before. Her voice is smooth, I like it … small, intimate, but good intonation, without a shout, you know.It’s enjoyable. I thought the entire record was very good. I don’t know who arranged it, of course. I liked the trumpet-was that a progressive cat there? Ha! ha! Shall I speculate or not? Dizzy on a cool day? Very good, very good.

Helen Merrill (vcl) acc by Art Farmer, Louis Mucci (tp) Jimmy Cleveland (tb) John LaPorta (cl,as) Hank Jones (p) Barry Galbraith (g) Oscar Pettiford (b) Joe Morello (d) + strings, Gil Evans (arr,cond) New York, July 29, 1956

10. Barbara Carroll. By Myself (Victor). Barbara Carroll, vocal, piano.

That was a smart, snappy version. I like the singer, but don’t know who it was. Sort of a happy, elated interpretation, and I enjoyed it. As far as rating-let’s see-good. How about the piano? What piano? Ha! ha!

11. Peggy Connelly. Travelin’ Light (Bethlehem). Russ Garcia, arranger and conductor.

Well, let’s see — that’s not Paul Whiteman. Ha! ha! His was the first version I heard, of that tune. It’s real nice—the right groove and the right tune. The right answers to that would be right good.

Peggy Connelly (vcl) acc by Pete Candoli, Stu Williamson (tp) Russ Cheever (sop) Charlie Mariano (as) Bill Holman (ts) Jimmy Giuffre (bar) Al Hendrickson (g) Max Bennett (b) Stan Levey (d) Russ Garcia (arr,cond)  Los Angeles, January 16, 17 & 18, 1956

12. Billie Holiday. Travelin’ Light (Clef).

That record reminds me of a perfect example. For instance, I do a recording session and there’s 17 to 24 men, and then a club in the east will hire me and they’ll have a fast trio to accompany me and people will say “Do that tune, How High the Moon or Bootwhip,” or something on which I had 17 men, and with a trio I’m supposed to make it-like-“sound,” and it’s not easy, but Billie does it real well.This is Miss Stylist of the World, and it’s always good. Traveling Light and traveling right with Billie Holiday. The full value of stars.

 

 

大阪ジャズ同好会第38回例会(2019年8月11日) 特集「また暴挙ご容赦様々なSUMMERTIME 60分」

August 15,2019

また暴挙ご容赦様々な「SUMMERTIME 」60分 解説 吉瀬拓雄氏

(当日配布されたレジュメを転載します)
昨年2月の「オール・オブ・ミー」に続いてまた1曲集中特集の最挙。60年余り前の学生時代、 松竹座裏の「ジャズ・ミー」で「この曲ナニ?」と尋ねた「サマータイム」です。 ご存じの通りガーシュインが1935年に作曲した「ポーギーとベス」冒頭の子守歌。現在までに2600バージョンが出ているそうですが、実は「これがその時に聴いた演奏」と言い切れる音には、いまだ出会えないでいます。「夏近し」の季節に免じてご容赦の上、 折にふれて集めた音源から、様々なアレンジや個性をお楽しみ頂ければ幸いです。

◆子守唄には似つかわしくないトランペットの3連発から

Henry “Red” Allen

Henry “Red” Allen (tp) Earl Warren (cl,as) Coleman Hawkins (ts) Marty Napoleon (p) Chubby Jackson (b) George Wettling (ds) New York, August 7, 1958

Charlie Shavers

Charlie Shavers (tp) with large studio orchestra, Sy Oliver (arr,cond)
New York, June, 1955 (Bethlehem BCP27)

Miles Davis

◆ペットのルイとエラがデュエットしビリーとサラも歌います

Ella Fitzgerald & Louis Armstrong

ブログ作成者から追加させて下さい。
Here is Ella Fitzgerald sings ”Summertime”. (1968)

Billie Holiday

Billie Holiday (vcl) ,Bunny Berigan (tp), Artie Shaw (cl) ,Joe Bushkin (p) ,Dick McDonough (g) ,Pete Peterson (b) ,Cozy Cole (ds)  New York, July 10, 1936

Sarah Vaughan

◆続いては男声の大御所ピングとシナトラに混声のプラターズ

Bing Crosby

Frank Sinatra

The Platters   (1990年殿堂入りした男4人女1人混声グループ)

◆ゴスペル、男女のロックやR&Bシンガーの登場です

・Mahalia Jackson

ブログ作成者から追加させて下さい。
Here is Mahalia Jackson sings ”Summertime”. (1960)

・Janis Joplin

Paul McCartney

Aaron Neville

Photo by Discogs

◆大震災前に「津軽弁ジャズ」で東北を巡演していたこの入をぜひ

・伊藤君子

当日紹介された「津軽弁ジャズ」の音源は提供出来ません。代替として伊藤君子さんのコメントと『A Touch Of Love(1994年)』から添付させて頂きます。

「津軽弁ジャズ ジャズだべ!ジャズださ!」(PRコメント)

Here is Kimiko Itoh sings “Summertime”.

伊藤君子(vo),Michael Brecker(ts), 日野皓正(Cor,Flh) ,Eddie Gómez(b),Steve Gadd(ds), 佐藤允彦(p) 松木恒秀(g) 1985年11月12日録音

(レジュメ末尾のコメント)
女性歌手では他にカーメン・マクレエ、ジュリー・ロンドン、メリー・フォード、ヘ レン・メリル、キリ・テ・カナワ、ナラ・レオン、チャカ・カーン、アニタ・ベイカー 、オリビア・ニュートンジョン、沖山秀子、矢代亜紀ら。男性でキャブ・キャロウェー、
SAM&DAVE、ゴールデン・ゲイトトリオ、アル・マルティノペリー・コモ、アンデ ・ウイリアムス、サム・クック、レイ・チャールス、ジョージ・ベンソン、ジョニー・ ハートマン。ウイリー・ネルソン、パリー・マニロウ、ガエターノ・ヴェローソらも。

「主役より脇役がめだつモダンジャズ」大阪ジャズ同好会(2017年8月例会)

July 29. 2018

大阪ジャズ同好会のメンバーである竹村功氏がFacebookを開始されました。

今回は竹村氏が特集を担当された「主役より脇役がめだつモダンジャズ」をブログに再現しました。

尚、本特集は過去にご紹介しておりますが(1917年8月7日投稿)、小生が選んだ映像等を追加してブログを再作成致しました。

全7曲の演奏と竹村氏による「聞き所」を記載しました。

Here is Jutta Hipp With Zoot Sims play “Too Close For Comfort”.
Jerry Lloyd (tp) Zoot Sims (ts) Jutta Hipp (p) Ahmed Abdul-Malik (b) Ed Thigpen (ds)
Rudy Van Gelder Studio, Hackensack, NJ, July 28, 1956
「Zoot Simsが思う存分にブローしています」

Photo by YouTube

ブログ作成者のお気に入りを1曲添付させて頂きました。

Here is Jutta Hipp with Zoot Sims Play“Violets for Your Furs”.

Here is Joe Morello with Art Pepper play “Straight Life.
Art Pepper (as), Gerald Wiggins (p) ,Ben Tucker (b) ,Joe Morello (ds)
United Western Recorders, Los Angeles, CA, January 3, 1957
「絶頂期のArt Pepperによる艶やかな音色 」

Laurie Pepper(アート・ペッパーの未亡人)が管理するHPからの映像を追加しました。

詳細はこちらをご覧ください。➡️こちら

Here is Sarah Vaughan sings “Misty”.
Sarah Vaughan – vocals,Kirk Stuart – piano, vocals on “Misty”,Charles Williams – double bass,George Hughes – drums,Quincy Jones – producer  July 18,1963
「Piano奏者Kirk Stuartの歌唱力をお聞き下さい」

Kirk Stuartの映像を追加しました。

Here is Kirk Stuart sings ”But Not For Me”.

Here is Ella Fitzgerald and Duke Ellington play “It Don’t Mean A Thing If It Ain’t Got That Swing”.July 1966
「Ray Nance(tp)のボーカルが素敵です」

エリントン楽団をバックにRay Nanceが歌っている映像を追加しました。
Here is Ray Nance sings ”It don’t mean a thing”.

Here is Coleman Hawkins Quartet at the Village Gate play ” Josuha Fit the Battle of Jericho”.
Coleman Hawkins (ts), Tommy Flanagan (p), Major Holley (b), Eddie Locke (ds) August 1962
「Major Holleyがアルコソロで大活躍しています」

メジャー・ホーリーの映像を追加しました。
Here is Major Holley Play ”Bass Solo”.

Here is Sonny Rollins and Coleman Hawkins Quintet play “All The Things You Are”.
Coleman Hawkins, Sonny Rollins (ts), Paul Bley (p), Bob Cranshaw (b) ,Roy McCurdy (ds) NYC,July 15, 1963
「後輩の前で頑張っているホーキンスに大拍手」

御大が最高のリズム陣をバックに名曲を演奏した映像を追加します。
Here is Coleman Hawkins Quintet play ”Lover Man”.
Coleman Hawkins(ts) Johnny Guaneri(p) Milt Hinton(b)Barry Galbrath(g)Cozy Cole(ds)

Here is Miles Davis Quintet play “Oleo”.
Miles Davis (tp) ,John Coltrane (ts) ,Wynton Kelly (p) ,Paul Chambers (b), Jimmy Cobb (ds) Paris, France, March 21, 1960
「マイルスから独立したかったコルトレーンが御大を無視するかのような演奏に注目」

今年発売された「The Final Tour:The Bootleg Series,Vol.6」から1曲追加しました。

Here is Miles Davis Quintet play ”So What”.

The early recordings by Dexter Gordon(4)

September 9.2017

JustJazzCalifornia1952

Photo by courtesy of Wardell Gray Photo Gallery

Dexter Gordon worked with Louis Armstrong‘s orchestra in 1944

In those days Louis Armstrong band recorded with actress Dorothy Dandridge.

I found an interesting movie,”Atlantic City (1944 film)”.

Photo from YouTube by Atlantic City (film)

Photo from YouTube by Atlantic City (film)

Although it is regrettable that the video is not clear,I think the saxophonist is Dexter Gordon.

Then he had become a member of singer Billy Eckstine’s group.

Eckstine’s big band was the finishing school for adventurous young musicians who would shape the future of jazz.

Included in this group were Dizzy Gillespie, Dexter Gordon, Miles Davis, Art Blakey, Charlie Parker, and Fats Navarro, as well as vocalist Sarah Vaughan.

Photo by courtesy of Maxine Gordon’s Blog(Unfortunately Dexter Gordon is not shown.)
残念ながらDexter Gordonは写っていませんがBilly Eckstine楽団の貴重な写真をご覧下さい。 Charles “Teenie” Harris, 1908–1998, Billy Eckstine orchestra performing on stage, seen from above, including Sarah Vaughan, Billy Eckstine, Lucky Thompson, Charlie Parker, Bob “Junior” Williams, Leo Parker, Charlie Rouse, Dizzy Gillespie, Marion “Boonie” Hazel, Howard McGhee, Howard Scott, Jerry Valentine, Taswell Baird, Linton Garner, Art Blakey, and Connie Wainwright, in Aragon Ballroom, August 1944

1944年、Dexter GordonはLouis Armstrongに雇われました。

その当時Louis Armstrong orchestraは女優のDorothy Dandridge(ドロシー・ダンドリッジ)と映画で共演しています。

今回、サッチモとDorothyが共演した「Atlantic City(1944年製作)」という映画のワンシーンを見ました。

YouTube映像が不鮮明ではっきりしませんが、Dexter Gordonによく似たサックス奏者がサッチモの後ろで演奏しています。(間違っていたらご指摘下さい)

Louis Armstrong楽団を退団した後、Billy Eckstine楽団に加入しました。

Billy Eckstine楽団は下記に記載したように冒険的な若い演奏家が多く在籍していました。

Dizzy Gillespie、Dexter Gordon、Miles Davis、Art Blakey、Charlie Parker、Fats Navarro、Sarah Vaughan等が在籍していました。

Here is Louis Armstrong orchestra with Dorothy Dandridge play “Ain’t Misbehavin’”and  “Harlem On Parade” from Atlantic City (film) May, 1944.

Here is Billy Eckstine band with Dexter Gordon play “Lonesome Lover Blues”.

主役より脇役がめだつモダンジャズ

August 7. 2017

昨日参加した大阪ジャズ同好会の特集が面白かったです。

「主役より脇役がめだつモダンジャズ」担当 竹村氏

今回はリーダーより共演者の活躍によって名盤と評価された作品の特集でした。

個人的には過去に聞いたことのある録音でしたが、竹村氏の解説により自宅でもう一度聞きたくなりました。

全7曲の演奏と聞き所を復習を兼ねて記載いたしました。

Here is Jutta Hipp With Zoot Sims play “Too Close For Comfort”.
Jerry Lloyd (trumpet) Zoot Sims (tenor sax) Jutta Hipp (piano) Ahmed Abdul-Malik (bass) Ed Thigpen (drums)
Rudy Van Gelder Studio, Hackensack, NJ, July 28, 1956
「Zoot Simsが思う存分にブローしています」

Here is Joe Morello with Art Pepper play “Straight Life.
Art Pepper (as), Gerald Wiggins (p) ,Ben Tucker (b) ,Joe Morello (ds)
United Western Recorders, Los Angeles, CA, January 3, 1957
「絶頂期のArt Pepperによる艶やかな音色 」

Here is Sarah Vaughan sings “Misty”.
Sarah Vaughan – vocals,Kirk Stuart – piano, vocals on “Misty”,Charles Williams – double bass,George Hughes – drums,Quincy Jones – producer  July 18,1963
「Piano奏者Kirk Stuartの歌唱力をお聞き下さい」

Here is Ella Fitzgerald and Duke Ellington play “It Don’t Mean A Thing If It Ain’t Got That Swing”.July 1966

「Ray Nance(tp)のボーカルが素敵です」

Here is Coleman Hawkins Quartet at the Village Gate play ” Josuha Fit the Battle of Jericho”.
Coleman Hawkins (ts), Tommy Flanagan (p), Major Holley (b), Eddie Locke (ds) August 1962
「Major Holleyがアルコソロで大活躍しています」

Here is Sonny Rollins and Coleman Hawkins Quintet play “All The Things You Are”.
Coleman Hawkins, Sonny Rollins (ts), Paul Bley (p), Bob Cranshaw (b) ,Roy McCurdy (ds) NYC,July 15, 1963
「後輩の前で頑張っているホーキンスに大拍手」

Here is Miles Davis Quintet play “Oleo”.
Miles Davis (tp) ,John Coltrane (ts) ,Wynton Kelly (p) ,Paul Chambers (b), Jimmy Cobb (ds) Paris, France, March 21, 1960
「マイルスから独立したかったコルトレーンが御大を無視するかのような演奏に注目」

Johnny Pate(3)

June 08.2017

While performing with South, Johnny Pate furthered his musical training by studying at Chicago’s Midwestern Conservatory from 1951 to 1953.

In those days Johnny Pate also played with the Red Allen – J.C. Higginbotham Combo.

Photo above of Mills Blue Rhythm Band. From left to right: George Washington, J. C. Higginbotham, Henry “Red” Allen, Wardell Jones and Shelton Hemphill from Wikipedia

In addition during this same time period, he worked for the Club De Lisa as the arranger of its shows’ production numbers.

The feature male singer in the show was a young man by the name of Joe Williams.

Please refer to an interesting blog about Joe Williams and the Club De Lisa.Go here

Then Johnny Pate and Joe Williams became life-long friends.

In the end of the 50’s, he led his own group that served as the house band at Chicago’s Blue Note.

There he worked with Ella Fitzgerald, Sarah Vaughan and Duke Ellington.

Also he recorded “Johnny Pate at the Blue Note” (1956).

Photo above of Sarah Vaughan and Ella Fitzgerald by courtesy of Pinterst

Johnny Pateは1951年から1953年までシカゴの Midwestern Conservatoryで音楽理論を徹底的に学びました。
又、同時期にはHenry Red Allen とJ.C. Higginbotham が双頭リーダーであったバンドにも参加していました。
更にシカゴでも有名なナイトクラブ「The Club De Lisa」で音楽ステージの編曲者として雇われました。
当時「The Club De Lisa」で歌っていたボーカリストはJoe Williamsでした。
Joe Williamsと「The Club De Lisa」に関しては添付のブログを参照してください。ここをクリックして下さい。
1950年代の終わり頃には、彼をリーダーとするグループが「シカゴBlueNote」のハウスバンドとして抜擢されました。
「シカゴBlueNote」ではElla FitzgeraldやSarah Vaughan そして Duke Ellingtonバンドと共演しました。
又、 “Johnny Pate at the Blue Note” (1956)というレコードも製作販売されました。(実況ライブではありません)

Here is Johnny Pate at the Blue Note play “What a Difference a Day Made”, “It Might as Well be Spring”,”I Surrender Dear”.
Johnny Pate(b), Floyd Morris(p),Wilbur Wynne(g)
Chicago, probably July 3-10,1956

Here is Count Basie with Joe Williams and Jimmy Rushing play “Going To Chicago”.

The Great Compositions by Tadd Dameron(3)

January 18.2017

Photo above of Add Cameron from A New Tadd Dameron Biography


Photo above of Add Cameron from A New Tadd Dameron Biography

Not only Tadd Dameron composed “If You Could See Me Now” for Sarah Vaughan, but he also did the orchestral arrangement.

Sarah Vaughan’s 1946 original recording was released through Musicraft Records.

This tune became one of her signature songs.

Photo above of Sarah Vaughan

Photo above of Sarah Vaughan

In 1998 her rendition was inducted into the Grammy Hall of Fame.

Also this tune was embraced by jazz instrumentalists and vocalists alike.

As with most of Dameron’s compositions, it has been recorded by many jazz musician and vocalists.

Photo above of Bill Charlap

Photo above of Bill Charlap

Recently I found an interesting interview with pianist Bill Charlap.

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July 08, 2015(JazzWax)

“Misty is a beautiful song. It’s very much a ballad in the tradition of great jazz
writers like Tadd Dameron. Misty is in some ways a cousin of Dameron’s If You Could See Me Now.”Here is Sarah Vaughan sings “If you could see me now”(May 7, 1946),

Here is Sarah Vaughan sings “If you could see me now”(May 7, 1946),
Sonny Burke & His Orchestra joining trumpeter Freddie Webster.

Here is Tadd Dameron plays “If You Could See Me Now”.

Here is Sonny Stitt with the Quincy Jones band play “If You Could See Me Now(1955)”.

Here is Oliver Nelson and Red Garland play “If You Could See Me Now”
The session would be the only time Nelson and Garland recorded together.

Here is Dianne Reeves Sarah sings “If you could see me now”.

Here is Wes Montgomery & Wynton Kelly Trio play “If You Could See Me Now”.

Roy Haynes(3)

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Photo above of Roy Haynes, Thelonious Monk, Sonny Rollins at the Five Spot Cafe NYC, September 1958

Roy Haynes also recorded at the time with pianist Bud Powell.

He said about Bud Powell:

”Bud Powell could outfox anyone, another player
The drummer was going to make him sound good.
It was beautiful playing behind him. Cause he had so much rhythm. All you had to do is accompany him.”

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From 1953 to 1958 he toured with singer Sarah Vaughan and also recorded with her.

He said about Sarah Vaughan:

”Usually I knew where she was going. But if she was scatting, naturally, that’s ad-libbing, and I’d have to figure it out.

She started introducing us on this tune she’d scat,and say, “Roy…dat-dat-dat…Haynes.”

Sarah Vaughan was the Charlie Parker of the vocalists during the 1950s. It was great.”

After that he played a plethora of extended gigs with Thelonious Monk (1959-60), recorded eight albums with Eric Dolphy (1960-61).

He had collaborations with Chick Corea since 1968.

He continues to blow people away when they hear his performance on the 1968 classic trio album by Chick Corea, ‘Now He Sing Now He Sobs’.

These interview quoted from JazzWax.[July 07~08, 2008]