We Three Roy Haynes with Phineas Newborn & Paul Chambers

• 1 Reflection 04:25
• 2 Sugar Ray 06:26
• 3 Solitaire 08:54
• 4 After Hours 11:21
• 5 Sneakin' Around 04:25
• 6 Our Delight 04:02
• Total Runtime 39:33

Info for We Three

This was not a working trio, except for a series of Mondays at the Five Spot Café in the fall of 1958, but it is a unit that is made up of three powerful parts whose sum is even greater than its whole. What they do with two Ray Bryant orginals, Avery Parrish’s classic blues, “After Hours,” Tadd Dameron’s “Our Delight,” and Phineas Newborn’s “Sugar Ray,” is memorable music from an all-star trio that would never get together again.

„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. Highlights include the easy, pure swing of the opener, a version of Ray Bryant's 'Reflection,' a wonderful and bluesy rendition of Avery Parrish's 'After Hours' (which finds Newborn in perfect balance between explosive ornamentation and smooth functionality), and a jaunty, fun spin through Newborn's own 'Sugar Ray,' a tribute to boxer Sugar Ray Robinson. This trio had a brief recording career together, but as this solid set shows, they made the best of it.“ (Steve Leggett)

'...One of the greatest piano trio recordings in the history of jazz. Newborn sounds at once like all of Miles' pianists run through a harmonic sanctifier, giving another shape and color to both bop and the blues...' (Musician)

„This is a record I have been listening to for 35 years now and it only gets better each time. The way that Roy was playing this early pre-dates just about anything since in the sense of defining a fresh, modern approach to rhythm. Phineas is a constant inspiration and Paul Chambers is the groove/note choice champ of all time. In a newly remastered version, it is better than ever.“ (Pat Metheny)

Roy Haynes, drums
Phineas Newborn, piano
Paul Chambers, bass

Recorded by Rudy Van Gelder at Van Gelder Studio, Hackensack, NJ; November 14, 1958

Digitally remastered by Rudy Van Gelder in 2007

Roy Haynes
Born in Boston on March 13, 1926, Roy Haynes, a self-taught jazz drummer and bandleader, has since become one of the most recorded drummers in jazz. He has played nearly every style of jazz: swing, bebop, jazz-fusion, avant-garde, you name it.

Haynes started his career in 1942 working with Charlie Christian, Tom Brown, Sabby Lewis, and Pete Brown before receiving a call from Luis Russell in 1945 to play for the dancers at The Savoy Ballroom in New York City. In 1960 Haynes tried his hand as a bandleader, first in a bop group, then in a jazz-rock group called Hip Ensemble. Over the course of his storied career, Haynes has played with the biggest names in jazz — Charlie Parker, Sarah Vaughan, Thelonious Monk, Miles Davis, Eric Dolphy, John Coltrane, Stan Getz, Chick Corea, Pat Metheny, and many more.

The Museum Of American History’s Hall On Nations in New York City named Haynes as one of the "Living National Treasures in jazz." In 1991, Haynes received an honorary doctorate of music from Boston's Berklee College Of Music.

In the late ’90s, Haynes formed The Roy Haynes Trio with Dream Theater guitarist John Petrucci on bass, and pianist Danilo Perez. In April of 2000, the trio released their debut album, The Roy Haynes Trio Featuring Danilo Perez And John Petrucci.

“I don't want to overplay," Haynes once said. "I like the guys to trade, and I just keep it moving, and spread the rhythm, as Coltrane said. Keep it moving, keep it crisp.” For anyone who's heard him play, it's clear Haynes lives and plays by this credo. (Jeff Berry)

Booklet for We Three