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Roy Haynes Quartet|Out Of The Afternoon

Out Of The Afternoon

Roy Haynes Quartet

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Out of the Afternoon is a splendid sounding 1962 set from the Roy Haynes Quartet -- which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work. Haynes' drumming is absolutely wonderful here, lightly dancing around the other instruments; Flanagan's piano playing is equally light and delicate; Grimes' bass work is outstanding (during "Raoul" you have a chance to hear one of the few bowed bass solos on records of that era); and there's no more to be said about Kirk's sax and flute work that hasn't been said a hundred times, apart from the fact that the flute solos on "Snap Crackle" help this cut emerge as particularly outstanding.

© Steven McDonald /TiVo

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Out Of The Afternoon

Roy Haynes Quartet

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1
Moon Ray
00:06:39

Roy Haynes Quartet, MainArtist

2000 CoolNote 2000 CoolNote

2
Fly Me To The Moon ( In Other Words )
00:06:39

Roy Haynes Quartet, MainArtist

2000 CoolNote 2000 CoolNote

3
Raoul
00:05:59

Roy Haynes Quartet, MainArtist

2000 CoolNote 2000 CoolNote

4
Snap Crackle
00:04:07

Roy Haynes Quartet, MainArtist

2000 CoolNote 2000 CoolNote

5
If I Should Lose You
00:05:48

Roy Haynes Quartet, MainArtist

2000 CoolNote 2000 CoolNote

6
Long Wharf
00:04:39

Roy Haynes Quartet, MainArtist

2000 CoolNote 2000 CoolNote

7
Some Other Spring
00:03:28

Roy Haynes Quartet, MainArtist

2000 CoolNote 2000 CoolNote

Album review

Out of the Afternoon is a splendid sounding 1962 set from the Roy Haynes Quartet -- which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work. Haynes' drumming is absolutely wonderful here, lightly dancing around the other instruments; Flanagan's piano playing is equally light and delicate; Grimes' bass work is outstanding (during "Raoul" you have a chance to hear one of the few bowed bass solos on records of that era); and there's no more to be said about Kirk's sax and flute work that hasn't been said a hundred times, apart from the fact that the flute solos on "Snap Crackle" help this cut emerge as particularly outstanding.

© Steven McDonald /TiVo

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