Roy Haynes - 1971 - Hip Ensemble

Roy Haynes

1971

Hip Ensemble

01. Equipoise 4:18

02. I'm So High 4:10

03. Tangiers 5:59

04. Nothing Ever Changes For You My Love 4:13

05. Satan's Mysterious Feeling 6:38

06. You Name It / Lift Every Voice And Sing 9:26

Bass – Teruo Nakamura

Bass [Fender] – Mervin Bronson

Bongos – Elwood Johnson

Congas – Lawrence Killian

Drums, Timpani – Roy Haynes

Flute – George Adams

Piano – Carl Schroeder

Tambourine – Elwood Johnson

Tenor Saxophone – George Adams

Trumpet – Marvin Peterson

Roy Haynes' Hip Ensemble (1971): Snap, Crackle, and Spiritual Pop

The Legendary Drummer Gets Funky (And Righteously Hip)

Picture this: It's 1971. The jazz world is buzzing with post-Coltrane quests, electric Miles vibes are electrifying everything, and funk grooves are sneaking into every corner. Meanwhile, Roy Haynes – the snap-crackle-pop drummer who's already backed legends like Bird, Lester Young, Monk, Sarah Vaughan, Getz, and even a stint with Trane himself – decides it's time to lead his own crew into the new decade. At 46, Haynes wasn't some wide-eyed youngster chasing trends; he was the veteran saying, "Hold my cymbals – I'll show you how it's done." The result? Hip Ensemble on Bob Shad's Mainstream Records: a sizzling blend of spiritual jazz, jazz-funk, Latin percussion, and post-bop fire that's as "hip" as the title promises – and twice as explosive.

Haynes assembled a killer young(ish) squad he dubbed the Hip Ensemble: future heavyweights George Adams (tenor sax/flute – raw, emotive power), Marvin "Hannibal" Peterson (trumpet – soaring, fiery lines), Carl Schroeder (piano/Fender Rhodes – shimmering electric soul), double bass threat Teruo Nakamura (acoustic) and Mervin Bronson (Fender), plus percussion spice from Lawrence Killian (congas) and Elwood Johnson (bongos/tambourine). Haynes himself handles drums and timpani, because why not add orchestral thunder to your funk?

This wasn't Haynes' first leader date, but it was his boldest pivot yet – trading pure bebop swing for modal explorations, funky Rhodes grooves, and spiritual uplift. As AllMusic's Ron Wynn put it, this "explosive session helped cement the reputations of George Adams and Hannibal Marvin Peterson." And Haynes? His drumming is the glue – powerful, inventive, always propulsive. Humor alert: The man plays with such flair, it's like he's auditioning for a superhero cape while keeping perfect time.

Track-by-Track Breakdown (With Hip Wit and Groove Insights)

The original LP clocks in at a tight ~35 minutes, but recent reissues (shoutout Wewantsounds' 2025 vinyl deluxe) add the bonus "Roy's Tune" – a clavinet-driven funk bomb that's pure blaxploitation swagger.

Equipoise (Stanley Cowell, 4:27)

Opens with a smooth, approachable head – think '70s TV theme with jazz soul. Then Adams eases in on tenor, building to scalar fireworks, Peterson adds trumpet sparkle, and Schroeder's Rhodes flows like liquid gold. Haynes' fills? Crisp and teasing. It's balanced (equipoise, get it?), introducing the ensemble's chemistry. Perfect gateway drug for spiritual jazz newbies.

I'm So High (George Adams, 4:16)

Title says it all – uplifting, soaring vibes without needing substances. Adams' tenor wails ecstatically over funky bass and percussion layers. Peterson's trumpet climbs to the heavens. Haynes drives it with that signature snap-crackle. Feels like floating on a cloud... or maybe just really good coffee.

Tangiers (George Adams, 6:05)

Exotic standout! Latin-tinged percussion (Killian and Johnson earning their keep) evokes North African mystique. Free-ish solos over hypnotic grooves – Adams on flute for ethereal touches, Peterson blazing. Haynes' timpani adds drama. It's the album's psychedelic wanderlust moment – close your eyes and you're in a bazaar, dodging camels while grooving.

Nothing Ever Changes My Love For You (Jack Segal/Jack Fischer, 4:18)

The "ballad" – a standard turned soulful plea. Schroeder's Rhodes shines, horns harmonize tenderly. Uptempo swing with funk undercurrents. Sweet without syrup – Haynes' brushes and light fills keep it breezy. Romantic? Sure. But in this crew's hands, it's got edge.

Satan's Mysterious Feeling (George Adams, 6:35)

Brassy funk juggernaut! Heavy groove, horns blasting like righteous judgment. Adams composed this beast – tense, building to chaotic peaks tempered by melody. Haynes' drums explode here – fills that could wake the devil himself. Psychedelic and trance-inducing; one reviewer called it a "perfect cap-off." Humor note: If Satan's got a mysterious feeling, it's probably jealousy over this track's heat.

You Name It / Lift Every Voice and Sing (9:29)

The epic closer – medley starting free-form ("You Name It" lets everyone stretch wildly), then segueing into the Black national anthem. Spiritual peak: Uplifting horns, percussion frenzy, Haynes anchoring the chaos. Adams vocals? Raw passion. It's cathartic, communal – like a revival meeting with killer solos.

Bonus: Roy's Tune (5:09)

Clavinet funk outtake – breakbeat heaven (strangely unsampled?). Pure groove monster; Haynes' drums pop harder than popcorn. Blaxploitation vibes – imagine Shaft nodding along.

Overall Verdict: A Hip Masterclass in Drumming and Ensemble Fire

Hip Ensemble is Haynes proving age is just a number – blending his bebop roots with '70s innovation: modal freedom, electric keys, Latin spice, and spiritual depth. It's approachable yet adventurous, funky yet profound. Strengths: That killer lineup (Adams and Peterson launchpads to stardom), Haynes' virtuosic yet tasteful drumming (no showboating, just propulsion), and organic grooves that reward repeats. Weaknesses? Short runtime – we want more!

Critics love it: 4/5 stars across boards, hailed as "explosive," "righteous," and a spiritual jazz-funk bridge. In the Mainstream catalog (home to Buddy Terry's gems too), it's a standout. Legacy? Influenced the funk-jazz wave, sampled subtly, and reissued timely (post-Haynes' 2024 passing at 99) as tribute.

Rating: 9/10 – Snap-crackling essential. If you're hip to spiritual jazz or just love drums that dance, drop the needle. Roy Haynes doesn't just keep time – he owns it. Funky, fiery, forever fresh.