{"title":"Roy Haynes","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eRoy Haynes arrived in New York from Roxbury, Boston in 1945 and spent the next eight decades playing with practically every significant musician in jazz, from Lester Young and Charlie Parker in the bebop years through Sarah Vaughan, Thelonious Monk and John Coltrane in the 1950s and 1960s, to Chick Corea, Pat Metheny and Anthony Braxton in later decades. The list is so long it risks becoming meaningless, but the more useful thing to know is that he was often the drummer people called when their first-choice drummer wasn't available, and that the sessions that resulted under those circumstances were frequently among the best either artist ever made. He depped regularly for Elvin Jones in the Coltrane Quartet. He played on two of Andrew Hill's most important Blue Note dates, \"Black Fire\" and \"Smoke Stack.\" He appeared on Coltrane and Hartman. He was on sessions for Charlie Parker, Bud Powell, Miles Davis and Stan Getz that defined what bebop rhythm sections could do. His own recordings as a leader are less discussed than they should be. \"We Three\" (New Jazz, 1958), a piano trio date with Phineas Newborn and Paul Chambers, is one of the finest small group recordings of the late 1950s. \"Out of the Afternoon\" (Impulse!, 1962), with Rahsaan Roland Kirk on saxophones, Tommy Flanagan on piano and Henry Grimes on bass, is his most celebrated leadership statement and among the best things anyone in that circle made for Impulse!. His nickname \"Snap Crackle\" came from the distinctiveness of his snare drum sound, and the Wire described his approach as earthed in swing era drumming more than his contemporaries, rhythmically fundamental rather than stylistically positioned. He died on 12 November 2024 in Nassau County, New York, aged 99, having performed into his late eighties.\u003c\/p\u003e","products":[{"product_id":"roy-haynes-quartet-out-of-the-afternoon-1973-japanese-impulse-vinyl-lp-gatefold","title":"Roy Haynes Quartet - Out Of The Afternoon (1973 Japanese Impulse! Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eRoy Haynes Quartet - \u003cem\u003eOut Of The Afternoon\u003c\/em\u003e | Vinyl LP Gatefold - 1973 Japanese Impulse! Reissue (IMP-88086, Toshiba)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe album came out of a residency rather than a plan. Haynes was working the Five Spot regularly in early 1962, Kirk had recently arrived in New York with his own group on the same bill, and the two bands started sitting in with each other between sets. Grimes and Flanagan were already Haynes's regular associates. Everyone got excited enough about what was happening on the bandstand that Haynes took the idea to Bob Thiele at Impulse!, and the quartet went into Van Gelder's studio in Englewood Cliffs on 16 and 23 May 1962. It was a one-off. Haynes recorded for New Jazz before and after, and never made another Impulse! date as a leader. What makes it work is the restraint. Kirk is the only horn and could easily have dominated, but he plays with more control than almost anywhere else in his discography, and the space that leaves lets Haynes stay audible throughout without ever pushing to the front. Flanagan's touch is light and precise, which is exactly what this instrumentation needs, and Grimes was 26 and coming off work with Mingus, Monk and Sonny Rollins.\u003c\/p\u003e\n\u003cp\u003e\"Moon Ray\" and \"Fly Me to the Moon\" get taken apart and rebuilt, the standards material handled with enough looseness that the melodies keep slipping sideways. \"Raoul\" is the fastest thing here, Kirk stating the theme on tenor and manzello at once before soloing on manzello, Flanagan running through it, and Grimes delivering the bowed solo that reviewers have singled out ever since. \"Snap Crackle\" is the drum feature, built on short call and response figures in sixteenth notes against offbeat eighth-note patterns, with Kirk's flute weaving through it. \"If I Should Lose You\" and \"Some Other Spring\" slow things down, the latter an Arthur Herzog Jr. and Irene Kitchings song most closely associated with Billie Holiday. \"Long Wharf\" is the third Haynes original. Van Gelder's engineering is a substantial part of why the record has the reputation it does, particularly on the drums.\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese pressing on Impulse! IMP-88086, manufactured by Toshiba in a gatefold sleeve.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43810932228155,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7780.jpg?v=1784416385"}],"url":"https:\/\/lushliferecords.com.au\/collections\/roy-haynes.oembed","provider":"Lush Life Records","version":"1.0","type":"link"}