Phil Haynes

4 Horns & What? The Complete American Recordings (3 CDs)

Corner Store Jazz

Having read with much fascination Phil Haynes memoir, Chasing the Masters: First Takes of a Modern Drumming Artist, a forthcoming issuance of recordings from his band 4 Horns & What? seemed inevitable. For anyone who wants a better understanding of the improvisational, avant-garde scene both in New York and in of all places, Haynes’ native Iowa, the book is must-read. Besides, it contains all kinds of stories and anecdotes including some that I posted on Facebook on my Facebook page. For a full review of his book, you should visit my colleague and fellow writer Dee Dee McNeil’s blog at this address https://musicalmemoirs.wordpress.com/  This project, 4 Horns & What? follows Haynes’ 2023 Coda(s), the third album from his exploratory trio  No Fast Food, featuring Dave Liebman and Drew Gress which we covered on these pages. Haynes is on a mission to document his vast catalog which has been sadly overlooked and underrecognized.

This 3-CD set features Hayne’s should be legendary quintet of fellow Iowan and mentor, trumpeter Paul Smoker (there may never be a better name for a fiery trumpeter) and multi-reedist Andy Laster alongside a rotating cast that included tenor saxophonists John Tchiai and Ellery Eskelin and brass players Herb Robertson and Joe Daley. Yes, Haynes is the “What.” This is a comprehensive collection of music both in the studio and live that was captured here in the states. Perhaps one day many of the performances that took place during European festivals will also emerge. This release will be followed by a 4-CD set featuring “Free Country,” his quartet with Hank Roberts, Jim Yanda, and Drew Gress and two electric-oriented projects in 2025.

The concept for 4 Horns & What began in 1986 as stated in the liner notes – “I was trying to reconcile an interested set of aesthetics: I wanted a band that would play most situations without amplification, a band that could whisper one moment and turn around to the raise the roof the next, and ensemble built around the intimate dialogue that happens in a good duet, a small group of improvisers with wide instrumental color, a big band-inspired contrapuntal ability, and a concept where I would be challenged to assume equality with the front line players.” Wow! That’s a lot to pull off but Haynes once was part of a trio with Smoker and the AACM’s Anthony Braxton so certainly was equipped with the foundation for such a venture. In fact, AACM recordings, or a condensed Sun Ra Arkestra are likely the best reference points for these sonics.

The first disc is the eponymously titled 1989 recording featuring Smoker, Eskelin, Laster, Daley and Haynes featuring the leadoff track which would become the band’s theme song “A ‘lil Iowa Get-Down,” a fusion of Eric Dolphy and Aaron Copland. “El-Smoke” begins with ambient atmospherics before morphing into spirited, unbounded free jazz. The contrast between Smoker on the high end and the bottom manned by Laster and Daley create remarkable harmonics, Haynes bringing it to an explosive climax with his whirlwind kit work. The band is most versatile as “Ballad for Heike” sounds Ellington-like in its lushness with Eskelin sounding like John Gilmore with Laster on flute while they take the route of an avant NOLA brass band on “Corner Store Strut,” named for Haynes’ long-defunct Brooklyn loft-like performance space described at length in his book. The last track, “Blues for Israel” features a riveting sousaphone intro from Daley and exemplary fiery turns from Smoker and Eskelin.

The second disc, 1991’s Four Horn Lore has Herb Robertson replaces Daley.  Listening to the opening “Holler 4 Horns” evokes Mingus with its bluesy tones, reflecting filed hollers and a deep, mournful tone. The ‘raise the roof’ portion of Haynes’ previous quote is embodied in “Out of the Bowels” which begins innocently enough before careening into the outer world. “Goofus Step” is a political satire born during the first Bush administration and updated on the third disc, Live at B.A.M. as a “Bill Clinton/Bob Dole two-step.” The closing, nearly 12-minute “Eclipse” is as strong an example of the ferocious but thoughtful improvisations of the quintet.

As strong as the studio albums are, the jewel of this set is the previously unissued Live at B.A.M (Brooklyn Academy of Music) from 1995, one that Haynes hadn’t heard in three decades and was surprised to learn that engineer Jon Rosenberg recorded it. This is lone installment for the late John Tchiai who shines brightly. The late Danish saxophonist and composer issued 38 albums as a leader and was a sideman with the likes of John Coltrane, Archie Shepp, Cecil Taylor, and John Lennon/Yoko Ono to name but a few. Following clarinetist Don Byron’s introduction, the band launches into “Holler 4 Horns.” The concert was part of Byron’s curated “Alternative Jazz” series with Haynes’ quintet opening for Paul Bley’s trio with Steve Swallow and Paul Motian who unenviably followed the quintet’s combustible set that included live versions of “Goofus Step, “A Little Iowa Get-Down,” and extended “Eclipse,” all which appeared in studio versions. Other highlights are the boisterous “West Virginia Blues” and a much calmer “Waltz for Jerry (Last Dance).”

Be forewarned. Don’t play the live one first. It has an energetic spark that can only be generated in live performance. Work your way through the three discs in sequence. Music journalist Shaun Brady, who wrote the extensive liners, decries and rejoices at the same time, knowing there may be more to come when the European recordings are eventually unearthed. He says this about the final track, “Eclipse,” going to further lengths than this writer did at the end of the fifth paragraph. “…as blistering a sprint to the finish line as any band can claim. It 4 Horns & What had to come to such a premature end, at least it arrived with this most gleeful of self-immolations.”  Please read Brady’s liners completely as this review only scratches the surface, especially in the backgrounds of the musicians.  Even more importantly, read Haynes’s book to gain a full appreciation of his musical approach. There may be no other musician who effectively merges the ‘in’ and ‘out’ as well as Phil Haynes. He deserves far more recognition, and this is a vital step in that direction.

• Jim Hynes

Buy Us a Cup of Coffee!

Join the movement in supporting Making a Scene, the premier independent resource for both emerging musicians and the dedicated fans who champion them.

We showcase this vibrant community that celebrates the raw talent and creative spirit driving the music industry forward. From insightful articles and in-depth interviews to exclusive content and insider tips, Making a Scene empowers artists to thrive and fans to discover their next favorite sound.

Together, let’s amplify the voices of independent musicians and forge unforgettable connections through the power of music

You can donate directly through Paypal!

Subscribe to Our Newsletter