Description
Roy Haynes Quartet – Out Of The Afternoon – 180 Gram Vinyl Record
Out of the Afternoon (1962) is one of the most celebrated albums by the Roy Haynes Quartet, and a landmark in early-’60s modern jazz. Released on Impulse! Records, the album captures drummer Roy Haynes not merely as a timekeeper, but as a visionary bandleader shaping the direction of post-bop through rhythm, texture, and ensemble chemistry. It stands as a vibrant, forward-leaning statement—restless yet refined, complex yet deeply swinging.
The quartet lineup is exceptional: Roland Kirk (credited at the time as Rahsaan Roland Kirk) on tenor saxophone and manzello, Tommy Flanagan on piano, and Henry Grimes on bass. Each musician brings a distinct personality to the session. Kirk is especially striking—his robust, soulful tenor tone and adventurous phrasing inject the music with urgency and emotional weight. Flanagan offers elegance and harmonic clarity, grounding the group with subtle, intelligent comping. Grimes’ bass playing is fluid and resonant, providing both propulsion and melodic counterpoint.
From the opening track, “Moon Ray,” Haynes establishes his signature approach to drumming: crisp cymbal work, buoyant swing, and unexpected accents that keep the music in constant motion. Unlike drummers who simply lock into a predictable ride pattern, Haynes treats rhythm as an elastic framework. He pushes and pulls against the beat, creating tension and release without ever losing the groove. His playing is light yet authoritative—full of snap and sparkle.
“A Stritch in Time,” composed by Kirk, showcases the group’s interplay. Kirk’s improvisation is fiery and imaginative, occasionally veering toward the avant-garde while remaining rooted in blues phrasing. Haynes responds with dynamic cymbal splashes and shifting rhythmic textures, almost conversing with the soloist rather than backing him conventionally. This conversational quality defines the album’s overall feel: no instrument dominates for long; instead, the quartet functions as a constantly evolving dialogue.
One of the album’s highlights is “Raoul,” a Haynes composition that blends lyrical melody with subtle rhythmic intricacy. Here, the group demonstrates its ability to balance accessibility and experimentation. Flanagan’s piano solo is graceful and harmonically rich, while Haynes’ brushwork adds delicate nuance. The piece reflects the album’s core strength—modernist ideas delivered with warmth and swing.
“Snap Crackle,” perhaps the most famous track from the session, is built on a catchy, angular theme. The title itself nods to Haynes’ nickname, inspired by the sharp, snapping quality of his snare work. The tune captures his rhythmic personality perfectly: crisp, playful, and unpredictable. The interplay between Kirk’s robust lines and Haynes’ responsive drumming creates a sense of perpetual motion.
Throughout Out of the Afternoon, there’s a palpable sense of balance between structure and freedom. While the music doesn’t venture fully into free jazz territory, it stretches post-bop conventions with rhythmic elasticity and harmonic openness. Haynes’ leadership is subtle but decisive; he shapes the ensemble’s direction not through bombast, but through finely tuned interaction.
Historically, the album arrived during a transitional moment in jazz, as musicians were pushing beyond hard bop toward more exploratory forms. Haynes, already a veteran who had played with Charlie Parker, Bud Powell, and Thelonious Monk, demonstrates here that he was not just part of jazz’s past but actively shaping its future. The recording’s clarity and warmth—hallmarks of the Impulse! sound—enhance the quartet’s dynamic range.
Out of the Afternoon remains one of Roy Haynes’ most enduring recordings and a testament to his longevity and innovation. It’s a drummer’s album in the best sense: rhythm as architecture, as conversation, as propulsion. Yet it’s equally a showcase for four master musicians in complete sync, capturing a moment when modern jazz felt agile, curious, and alive.
Brand new, never played and still sealed in the factory plastic
Track Listing
Moon Ray
Fly Me To The Moon (In Other Words)
Raoul
Snap Crackle
If I Should Lose You
Long Wharf
Some Other Spring
