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| The Inflated Tear |
| Roland Kirk |
| első megjelenés éve: 1968 |
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| (2022)
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CD |
| 4.742 Ft
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| 1. | The Black and Crazy Blues
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| 2. | A Laugh for Rory
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| 3. | Many Blessings
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| 4. | Fingers in the Wind
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| 5. | The Inflated Tear
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| 6. | Creole Love Call
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| 7. | A Handful of Fives
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| 8. | Fly by Night
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| 9. | Lovellevelliloqui
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| 10. | I'm Glad There Is You [*]
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Jazz / Post-Bop, Hard Bop
Rahsaan Roland Kirk - Stritch, Clarinet, Horn (English), Whistle (Human), Manzello, Flute, Sax (Tenor)
Bill Inglot Remastering
Casey Bailey Liner Notes
Cathi Unsworth Project Assistant
Dan Hersch Remastering
Daniel Goldmark Editorial Research
Dick Griffin Trombone
Dick Griffith Trombone
Elizabeth Pavone Editorial Coordinator
Florence Halfon Reissue Supervisor
Jimmy Hopps Drums
Joel Dorn Reissue Liner Notes, Producer
Lee Friedlander Cover Photo
Paul Goodman Engineer
Ron Burton Piano
Stanislaw Zagorski Cover Design
Steve Novosel Bass
Ted Myers Editorial Coordinator
Vanessa Atkins Editorial Supervision
The debut recording, Inflated Tear, by Roland Kirk (this was still pre-Rahsaan) on Atlantic Records -- the same label that gave us Blacknuss and Volunteered Slavery -- is not the blow-fest one might expect upon hearing it for the first time. In fact, producer Joel Dorn and label boss Nesuhi Ertegun weren't prepared for it either. Kirk had come to Atlantic from Emarcy after recording his swan song for them: the gorgeous Now Please Don't You Cry, Beautiful Edith, in April. In November, Kirk decided to take his quartet of pianist Ron Burton; bassist Steve Novosel; and drummer Jimmy Hopps; and lead them through a deeply introspective, slightly melancholy program based in the blues and groove traditions of the mid- '60s. Kirk himself used the flutes, the strich; the Manzello; whistle; clarinet; saxophones; and more -- the very instruments that had created his individual sound, especially when some of them were played together -- and the very things that jazz critics (some of whom later grew to love him) castigated him for. Well; after hearing the restrained and elegantly layered "Black and Crazy Blues," the stunningly rendered "Creole Love Call," the knife-deep soul in "The Inflated Tear," and the twisting-in-the-wind lyricism of "Fly by Night," they were convinced, and rightfully so. Roland Kirk won over the masses with this one, too, selling over 10,000 copies in the first year. This is Roland Kirk at his most poised and visionary; his reading of jazz harmony and fickle sonances are nearly without peer. And only Charles Mingus understood Duke Ellington in the way Kirk does. That evidence is here also. If you are looking for a place to start with Kirk; this is it. [The British edition restores the original artwork and includes one track not available on the original album.] ~ 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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