It is an era when the worst thing a group of pre-teen boys can be caught doing is a pillow fight after hours with the verboten transistor radio playing jazz. The benevolent authority cares for their growing pains as he exacts perfection in execution of some of the world's most glorious choral music ever written. The "almost" qualification to the angelicly pure bell-like voices singing music of the ages is the normal mischieviousness of boys. Celebrates friendship, perseverance, encouragement, loyalty, leadership, kindness. And gives us a chance to enjoy the Vienna Choir Boys. – Marian Schwartz
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.
This is a fusion date that mixes together Miroslav Vitous' acoustic bass with electric instruments including Kenny Kirkland's synthesizer and guitarist John Scofield. Some of the music grooves (such as "Off to Buffalo") while other tracks are episodic mood pieces. Actually most of the performances have an incomplete feel to them with "Guardian Angels" wandering somewhat aimlessly, making this a CD recommended only to completists.