Roy Haynes - 1972 - Senyah

Roy Haynes

1972

Senyah

01. Sillie Willie 7:48

02. Little Titan 7:22

03. Senyah 5:30

04. Full Moon 6:14

05. Brujeria Con Salsa 4:01

Roy Haynes – drums, timpani

Marvin Peterson – trumpet

George Adams – tenor saxophone

Carl Schroeder – piano

Roland Prince – guitar

Don Pate – bass

Lawrence Killian – congas

Roy Haynes' Senyah (1972): The Snap-Crackle Drummer Turns Up the Funk Heat

(And Witchcraft Salsa)

1972: Jazz is in full cosmic flux – fusion's buzzing, spiritual quests are peaking, and everyone's chasing that post-Coltrane fire with a side of groove. Roy Haynes, the eternal snap-crackle-pop drumming legend (already in his late 40s but playing like a man possessed by rhythm demons), drops Senyah on Bob Shad's Mainstream Records. Fresh off the exploratory vibes of 1971's Hip Ensemble, this is Haynes doubling down on the funkier, more electric side of his "Hip Ensemble" project – a burner that trades some of the previous album's spiritual uplift for raw jazz-funk energy, Latin spice, and straight-up groove monsters. As AllMusic's Ron Wynn nailed it: "This set is a burner, featuring Haynes in an entirely new light." And boy, does it scorch.

Haynes keeps the core fire from Hip Ensemble but trims the fat: No double bass or extra percussionists this time. The lineup is lean and mean:

Roy Haynes: Drums, timpani – the undisputed star, whipping up storms with his signature crisp snare and decorative cymbal flair.

Marvin "Hannibal" Peterson: Trumpet – soaring, intense lines that could melt brass.

George Adams: Tenor saxophone – raw power, emotive wails (he contributes two killer tunes).

Carl Schroeder: Piano (acoustic and likely electric hints) – tasteful comping and solos.

Roland Prince: Guitar – adding that subtle electric edge for funk bite.

Don Pate: Bass – solid, groovy anchor.

Lawrence Killian: Congas – essential Latin/Afro pulse.

Compared to Hip Ensemble's broader spiritual palette (with flute, bongos, and anthemic medleys), Senyah feels tighter, funkier – more Strata-East/Black Jazz grit meets Latin jazz-funk. Dusty Groove calls it a "sweet set of spiritual jazz... with a slightly electric groove," and they're spot on. At just over 30 minutes, it's concise but packed – no filler, all killer.

Track-by-Track Breakdown (With Fiery Wit}

Sillie Willie (George Adams, 7:48)

Kicks off with a bang – upbeat funk groove, horns blasting unison riffs over Killian's congas and Pate's walking bass. Adams' tenor roars first, Peterson's trumpet follows with fiery scalar runs. Haynes? His drums pop and crackle like fireworks. It's playful yet intense – "sillie" indeed, but in the best, head-nodding way. Sets the tone: This ain't your grandpa's bebop.

Little Titan (Marvin Peterson, 7:22)

Mid-tempo swinger with a heroic vibe – Peterson's composition lets his trumpet shine bright and bold. Adams counters with gritty tenor, Prince's guitar adds wah-wah spice. Haynes drives it relentlessly, timpani thundering for dramatic flair. Feels like a mini-epic; if Titans had a theme song, this would be it (minus the capes).

Senyah (Joe Bonner, 5:30)

The title track (spelled backwards? "Haynes" flipped – clever wink from Roy?). Modal and mysterious, with shimmering piano intros and layered horns building tension. Shorter but hypnotic – congas pulse underneath soaring solos. It's the album's contemplative breather, nodding to spiritual jazz depths without slowing the momentum.

Full Moon (George Adams, 6:14)

Moody groover evoking lunar mysticism. Adams' tune lets his tenor howl ethereally over funky rhythms. Peterson adds cosmic trumpet, guitar weaves in subtly. Haynes' fills dance around the beat – pure propulsion. Perfect late-night spin; you'll feel the werewolf urges coming on (in a groovy way).

Brujeria Con Salsa (Roy Haynes, 4:01)

The closer and crowd-pleaser: Haynes' own composition translates to "Witchcraft with Salsa" – and it delivers! Fast Latin-funk blast with conga fireworks, horns trading spicy riffs, and electric guitar bites. Short, explosive finale – everyone stretches wildly. Humor note: If this doesn't make you dance like you're warding off spirits, check for a pulse. Pure party exorcism.

Overall Verdict: A Funky, Fiery Follow-Up That Burns Bright

Senyah refines the Hip Ensemble formula: Less extended trance, more punchy jazz-funk with Latin zest. Haynes shines as leader – his drumming is inventive, powerful, always serving the groove (no ego trips here). The young guns (Adams and Peterson launching toward stardom) bring raw energy, while the rhythm section locks in tight. Strengths: Killer compositions (especially Adams'), organic interplay, and that elusive '70s spiritual-funk balance – approachable yet deep. Weaknesses: Runtime feels teaser-short; we crave more witchcraft!

In the Mainstream catalog, it's a standout – echoing Buddy Terry's contemporaneous gems but with Haynes' unbeatable snap-crackle drive. Legacy? A cult favorite for crate-diggers, sampled subtly, and a testament to Haynes' timeless adaptability (he'd live to 99, still innovating). AllMusic 4 stars; modern fans hail it as essential jazz-funk.

Rating: 8.8/10 – A burner indeed. Drop the needle, feel the salsa sorcery, and let Roy's drums cast their spell. When it's Haynes, it always roars – here, it funky-roars with extra brimstone.