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Reviewers: Tony Augarde [Editor], Steve Arloff, Nick Barnard, Pierre Giroux, Don Mather, Glyn Pursglove, George Stacy, Bert Thompson, Sam Webster, Jonathan Woolf

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Three Classic Albums Plus

Avid AMSC 1092




Jazz Abroad

1. Little Leona

2. Miss Mopsy

3. Gone Again

4. Hagnes

Roy Haynes - Drums

Joe Benjamin - Bass

Sahib Shihab - Baritone sax, alto sax

Adrian Acea - Piano

Bjarne Nerem- - Tenor sax

Ake Persson - Trombone

We Three

5. Reflection

6. Sugar Ray

7. Solitaire

8. After Hours

9. Sneakin’ Around

10. Our Delight

Roy Haynes - Drums

Phineas Newborn - Piano

Paul Chambers - Bass


Just Us

1. Down Home

2. Sweet and Lovely

3. As Long As There’s Music

4. Well Now

5. Cymbalism

6. Con Alma

7. Speak Low

Roy Haynes - Drums

Richard Wyands - Piano

Eddie De Haas - Bass

Out of the Afternoon

8. Moon Ray

9. Fly Me To The Moon

10. Raoul

11. Snap Crackle

12. If I Should Lose You

13. Long Wharf

14. Some Other Spring

Roy Haynes - Drums

Roland Kirk - Tenor sax, manzello, stritch, flutes

Tommy Flanagan - Piano

Henry Grimes - Bass


The Drummerworld website lists Roy Haynes among the "Top 15 Drummers of All Time", and I'm not about to argue. Roy has an individual style and sound which owes more to instinct than to technique (although he has an excellent technique). He usually makes his presence felt on any recording he takes part in, often emphasising his presence with a rather echoey - almost tinny - sound on the drums, which gained him the nickname "Snap Crackle". These qualities are clear in this double CD, which contains three LPs plus the second side of the album Jazz Abroad, which was recorded in 1954 when Haynes was touring Sweden.

The four tracks from Jazz Abroad are dominated not only by Haynes' drumming but also by Sahib Shihab's authoritative baritone saxophone. In Miss Mopsy, Roy swaps pairs of bars with Shihab (not easy for a drummer). Gone Again is a touching ballad. Roy Haynes's special drum sound is featured in a longish introduction to Hagnes.

We Three dates from 1958 and assembles a fine trio, particularly notable for pianist Phineas Newborn, whose technique was legendary. The sleeve-note quotes Roy Haynes as saying: "Phineas plays full - he uses all ten fingers and 88 keys - perfect for a trio". In Newborn's composition Sugar Ray and the ballad Solitaire he reminds me of Erroll Garner. But on the eleven-minute After Hours, Phineas displays a feeling for the blues to match (say) Junior Mance.

Just Us from 1960 is another trio outing, which seems slightly less interesting than its predecessor because pianist Richard Wyands has a lighter, more conventional touch than Phineas Newborn. But Roy Haynes' dynamism keeps the pot boiling and his drum solos are as good as melodies. On Con Alma, he uses mallets on the tomtoms to set a Latin rhythm.

This collection leaves the best till last. Out of the Afternoon was recorded in 1962 with one very special guest: Roland Kirk. Kirk's eccentric multi-instrumentation has the perfect backing in Roy Haynes' distinctive drumming, plus the experience of pianist Tommy Flanagan and bassist Henry Grimes. Roy opens several tracks with short drum solos which establish the beat and the mood. In Moon Ray and Snap Crackle, Haynes adds percussion comments to Grimes' bass solo, and Grimes plays an impressive arco solo on Raoul. Kirk is his usual bundle of delightful surprises, as in a fine tenor-sax solo on Fly Me To The Moon, a gritty flute solo in Snap Crackle, and an eloquent stritch solo on If I Should Lose You which keeps breaking into double-time.

I actually reviewed Out of the Afternoon earlier this year with a different coupling. This double album is a bargain at Avid's usual budget price, which is worth spending for Out of the Afternoon alone.

Tony Augarde

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