At 78, Roy Haynes is only a year younger than Max Roach, but jazz history pigeonholes them as first- and second-generation bebop drummers. Each was a wunderkind who initially made his reputation with swing titans—Roach with Benny Carter, Haynes with Lester Young. But Roach was the first to assimilate Charlie Parker's radical redesign—"Ko Ko" was as much a coming out for him as for Parker and bop itself—and by 1949, when he asked Haynes to replace him in Parker's quintet, a chair Haynes held until 1952, Roach's influence was pervasive and absolute, as Haynes readily acknowledges. Roach had changed everything. It took nothing away from Sid Catlett's rolling authority or Buddy Rich's heart-stopping stickwork or Jo Jones's majestic hi-hat tattoos to realize that they were all inadequate to a music that demanded the drummer's increased collaboration in shaping themes and propelling soloists. Stylish timekeeping was now supplemented by simultaneous rhythms (and the independent limbs that made them possible), which redefined and deconstructed time while keeping it... More >>>