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| (I, Eye, Aye) Live at The Montreux Jazz Festival, Switzerland 1972 [ ÉLŐ ] |
| Roland Kirk |
| első megjelenés éve: 1972 |
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| (2003)
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CD |
Kérjen
árajánlatot! |
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| 1. | Rahsaantalk, No. 1
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| 2. | Seasons
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| 3. | Rahsaantalk, No. 2
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| 4. | Balm in Gilead
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| 5. | Volunteered Slavery
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| 6. | Rahsaantalk, No. 3
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| 7. | Blue Rol, No. 2
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| 8. | Solo Piece: Satin Doll/Improvisation
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| 9. | Serenade to a Cuckoo
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| 10. | Pedal Up
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Jazz / Post-Bop, Hard Bop
Rahsaan Roland Kirk - Clarinet, Nose Flute, Arranger, Stritch, Manzello, Flute, Siren, Sax (Tenor)
Adam Dorn Associate Producer
Anthony Udell Liner Notes
Bryan Rackleff Art Direction, Design
Coco Shinomiya Art Direction
Eric Frier Liner Notes
Gene Paul Mastering, Mixing
Giuseppe Pino Photography
Joe Habad Texidor Percussion
Joel Dorn Liner Notes, Producer
Joey Helguera Tape Research
John Kruth Liner Notes
John Mahoney Assistant Engineer
Patrick Milligan Project Coordinator
Robert Shy Drums
Ron Burton Piano
Scott Paul ?, Sonic Solutions
Stephan Sulke Engineer
This live recording is a companion to a documentary called The One Man Twins. Released for the first time in 1996, both audio and video gives both fans and the uninitiated a glimpse of the century's most colorful performers and most complex jazz musicians. Kirk's band for the date was comprised of pianist Ron Burton, bassist Henry "Pete" Pearson, drummer Robert Shy, and percussionist Joe Texidor. Only Burton and Texidor were Kirk regulars. The set is absolutely electrifying. From the few short raps Kirk offers the crowd, one cannot be prepared for the honking, shouting, funky, gritty sets that follow. Kirk begins with "Seasons," a careening rush of flute acrobatics, and on into a deeply moving rendition of "Balm in Gilead," where Kirk evokes the spirit of Paul Robeson, and then into arguably the greatest version of "Volunteered Slavery" on record, a slamming r&b stomp of literally epic proportions, where Kirk uses each of his horns and starts blowing different notes on each simultaneously. There is a gorgeous solo medley where Kirk combines Ellington's "Satin Doll" and an improvisation on its two themes and comes up with something completely new, yet reverentially sound. The set ends with "Serenade to a Cuckoo," which moves across scalar dimensions and tonal registers with a deep, funky grace, and finally, "Pedal Up," a standard Kirk crowd-pleaser that brings all of his elements -- the spectral, the spiritual, and the carnal -- into full play. The band, with new players, can barely keep up with Kirk, but Burton keeps them right in line with the master's shifts in mood, mode, and tempo while keeping the entire gig harmonically on course no matter which instrument Kirk chooses to play. This is a hell of an introduction to one of the least-understood figures in jazz history, and an absolute necessity for fans. ~ Thom Jurek, All Music Guide
Rahsaan Roland Kirk
Active Decades: '50s, '60s and '70s
Born: Aug 07, 1936 in Columbus, OH
Died: Dec 05, 1977 in Bloomington, IN
Genre: Jazz
Styles: Modern Creative, Soul-Jazz, Post-Bop, Mainstream Jazz, Avant-Garde Jazz
Arguably the most exciting saxophone soloist in jazz history, Kirk was a post-modernist before that term even existed. Kirk played the continuum of jazz tradition as an instrument unto itself; he felt little compunction about mixing and matching elements from the music's history, and his concoctions usually seemed natural, if not inevitable. When discussing Kirk, a great deal of attention is always paid to his eccentricities -- playing several horns at once, making his own instruments, clowning on stage. However, Kirk was an immensely creative artist; perhaps no improvising saxophonist has ever possessed a more comprehensive technique -- one that covered every aspect of jazz, from Dixieland to free -- and perhaps no other jazz musician has ever been more spontaneously inventive. His skills in constructing a solo are of particular note. Kirk had the ability to pace, shape, and elevate his improvisations to an extraordinary degree. During any given Kirk solo, just at the point in the course of his performance when it appeared he could not raise the intensity level any higher, he always seemed able to turn it up yet another notch.
Kirk was born with sight, but became blind at the age of two. He started playing the bugle and trumpet, then learned the clarinet and C-melody sax. Kirk began playing tenor sax professionally in R&B bands at the age of 15. While a teenager, he discovered the "manzello" and "stritch" -- the former, a modified version of the saxello, which was itself a slightly curved variant of the B flat soprano sax; the latter, a modified straight E flat alto. To these and other instruments, Kirk began making his own improvements. He reshaped all three of his saxes so that they could be played simultaneously; he'd play tenor with his left hand, finger the manzello with his right, and sound a drone on the stritch, for instance. Kirk's self-invented technique was in evidence from his first recording, a 1956 R&B record called Triple Threat. By 1960 he had begun to incorporate a siren whistle into his solos, and by '63 he had mastered circular breathing, a technique that enabled him to play without pause for breath.
In his early 20s, Kirk worked in Louisville before moving to Chicago in 1960. That year he made his second album, Introducing Roland Kirk, which featured saxophonist/trumpeter Ira Sullivan. In 1961, Kirk toured Germany and spent three months with Charles Mingus. From that point onward, Kirk mostly led his own group, the Vibration Society, recording prolifically with a range of sidemen. In the early '70s, Kirk became something of an activist; he led the "Jazz and People's Movement," a group devoted to opening up new opportunities for jazz musicians. The group adopted the tactic of interrupting tapings and broadcasts of television and radio programs in protest of the small number of African-American musicians employed by the networks and recording studios. In the course of his career, Kirk brought many hitherto unused instruments to jazz. In addition to the saxes, Kirk played the nose whistle, the piccolo, and the harmonica; instruments of his own design included the "trumpophone" (a trumpet with a soprano sax mouthpiece), and the "slidesophone" (a small trombone or slide trumpet, also with a sax mouthpiece). Kirk suffered a paralyzing stroke in 1975, losing movement on one side of his body, but his homemade saxophone technique allowed him to continue to play; beginning in 1976 and lasting until his death a year later, Kirk played one-handed.
---Chris Kelsey, All Music Guide |
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