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| A Standing Eight (2CD) |
| Roland Kirk |
első megjelenés éve: 1998
136 perc |
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2 x CD |
Kérjen
árajánlatot! |
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| 1. CD tartalma: |
| 1. | Theme for the Eulipions
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| 2. | Sweet Georgia Brown
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| 3. | I'll Be Seeing You
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| 4. | Loving You
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| 5. | Goodbye Pork Pie Hat
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| 6. | There Will Never Be Another You
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| 7. | Giant Steps
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| 8. | Serenade to a Cuckoo
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| 9. | This Masquerade
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| 10. | Sugar
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| 11. | Los Angeles Negro Chorus
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| 12. | Steppin' into Beauty
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| 13. | The Christmas Song
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| 2. CD tartalma: |
| 1. | Bagpipe Medley
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| 2. | Mary McLeod Bethune
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| 3. | Bright Moments
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| 4. | Lyriconon
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| 5. | A Night in Tunisia
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| 6. | J. Griff's Blues
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| 7. | Boogie Woogie String Along for Real
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| 8. | I Loves You, Porgy
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| 9. | Make Me a Pallet on the Floor
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| 10. | Hey Babebips
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| 11. | In a Mellow Tone
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| 12. | Summertime
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| 13. | Dorthaan's Walk
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| 14. | Watergate Blues
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Jazz / Post-Bop, Hard Bop
Rahsaan Roland Kirk - Arranger, Producer, Manzello, Harmonica, Sax (Tenor), Flute
Adrienne Alber Vocals (Background)
Alfred Brown Viola
Arthur Jenkins Keyboards
Arthur Williams Vocals (Background)
Arvell Shaw Bass
Becky Wisdom Production Coordination
Betty Neals Recitation
Bill Carney Drums
Billy Butler Guitar
Buster Williams Bass
Charles Fambrough Cello
Charlie Persip Drums
Cornell Dupree Guitar
Dave Heffernan Artwork
David Gahr Photography
Doreen Callender Violin
Dorthaan Kirk Liner Notes
Ed Thrasher Art Direction
Eddie Preston Trumpet
Eric Monson Design
Eugene J. Moye Cello
Francine Caroll Vocals (Background)
Frank Foster Arranger
Freddie Moore Washboard
Gene Paul Remastering
Gifford McDonald Drums
Gordon Edwards Bass
Habao Texidor Percussion
Hank Jones Piano
Harold Kohon Violin
Hilda Harris Vocals (Background)
Hilton Ruiz Keyboards, Piano
Howard Johnson Tuba
James Buffington French Horn
James Madison Drums
Jerry Griffin Drums
Joel Dorn Producer, Liner Notes
John Timperley Engineer
Jonathan Abramowitz Cello
Julien Barber Viola
Kathryn Kienke Violin
Kenneth Harris Flute
Kermit Moore Cello
Linda Lawrence Viola
Maretha Stewart Vocals (Background), Vocals
Michael Hill Vocals
Milt Grayson Vocals (Background)
Milt Hinton Bass
Milton Suggs Bass
Nancy Dwyer Graphic Design
Page Simon Artwork, Graphic Design
Percy Heath Cello
Randy Peyton Quartet Vocals (Background)
Regis Landiorio Violin
Richard Tee Keyboards
Romeo Penque Oboe, Reeds, Sax (Baritone)
Ruddley Thibodeaux Tambourine
Sammy Price Piano
Sanford Allen Violin
Scott Paul ?
Selwart Clarke Viola
Sonny Brown Drums
Stanislaw Zagorski Artwork
Steve Turre Trombone
Tiny Grimes Guitar
Todd Barkan Percussion
Toianne Schlamp Design Associate, Associate Producer
Tony Posk Violin
Tony Waters Percussion
Vince McGarry Mastering
Walter Perkins Drums
Warren Smith Percussion
William Eaton Whistle (Human)
Yoko Matsuo Violin
In 1998, 32 Jazz reissued three albums from Rahsaan Roland Kirk's late period on the double-CD A Standing Eight. Those albums were The Return of the 5000 Lb. Man and Kirkatron -- both of which consisted of recordings made not long before the innovator suffered a debilitating stroke in 1975 -- and the post-stroke session, Boogie-Woogie String Along for Real. Hearing the pre-stroke and post-stroke material on the same collection, one cannot help but notice the contrast. The pre-stroke Kirk of Return and Kirkatron is a risk-taking, unpredictable, fearless daredevil of a musician who dazzles with everything from a tender flute solo on Minnie Riperton's "Loving You" to some soul-bearing tenor playing on Lester Young's "Goodbye Pork Pie Hat," Leon Russell's "This Masquerade" and the hauntingly eccentric "Theme for the Eulipions." Meanwhile, the post-stroke Kirk of Boogie-Woogie is someone who manages to deliver a worthwhile album despite his obvious impairment and physical limitations. Because the stroke had left him paralyzed on one side, Kirk faced the challenge of playing tenor and flute with the use of only one hand. Though parts of the CD are melancholy (especially his tenor playing on "I Loves You, Porgie"), Kirk's fighting spirit comes through on the quirky "Make Me a Pallet on the Floor" and Percy Heath's humorous "Watergate Blues." Sadly, Boogie-Woogie would be the innovator's final album before his death on December 5, 1977 at the relatively young age of 41. ~ Alex Henderson, 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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