Roy Haynes Quartet. Out of The Afternoon

This splendid-sounding CD reissues a 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 ~ AllMusic

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.

Mostly Other People Do The Killing - Red Hot (2013) {Hot Cup 125}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 290 Mb | MP3 @320 -> 124 Mb
Full Artwork @ 300 dpi (jpg) -> 56 Mb | 5% repair rar
© 2013 Moppa Music / Hot Cup Records | HC 125
Jazz / Post-Bop / Avant-Garde Jazz

I've been too busy enjoying the music of Mostly Other People Do the Killing (MOPTDK) to realize how controversial they've become. If you doubt their ability to rile the jazz world, all you have to do is post one of their videos on your Facebook page and wait for the ensuing kerfuffle to begin. The core band is comprised of four virtuoso instrumentalists, free-spirits who think nothing of hopping from honest-to-god punk rock, to free improv, to hard bop, to Americana, and back; sometimes in the space of a single track. Many of their original compositions, written by bassist Moppa Elliott, have the outward appearance of overlooked post-bop and bebop gems from the mid-1950s and early 60s.