  |
|
|
 |
| Does Your House Have Lions - The Rahsaan Roland Kirk Anthology (2CD) |
| Roland Kirk |
első megjelenés éve: 1976
138 perc |
|
| (1990)
|
|
2 x CD |
Kérjen
árajánlatot! |
|
| 1. CD tartalma: |
| 1. | Wham Bam Thank You Ma'am
|
| 2. | Conversation
|
| 3. | Bye Bye Blackbird
|
| 4. | Horses (Monogram/Republic)
|
| 5. | If I Loved You [Live]
|
| 6. | Old Rugged Cross
|
| 7. | Ain't No Sunshine
|
| 8. | Volunteered Slavery
|
| 9. | Seasons: One Mind Winter/Summer/Ninth Ghost
|
| 10. | Introduction [Live]
|
| 11. | Medley: Going Home/Sentimental Journey/In Monument/Lover [Live]
|
| 12. | The Black and Crazy Blues
|
| 13. | I Say a Little Prayer
|
| 14. | Medley: This Love of Mine/Roots [Live]
|
| |
| 2. CD tartalma: |
| 1. | The Inflated Tear
|
| 2. | Blacknuss
|
| 3. | I Love You, Yes I Do
|
| 4. | Portrait of Those Beautiful Ladies
|
| 5. | Water for Robeson and Williams
|
| 6. | A Laugh for Rory
|
| 7. | The Entertainer [Done in the Style of the Blues]
|
| 8. | Black Root
|
| 9. | Carney and Bigard Place
|
| 10. | Anysha
|
| 11. | Making Love After Hours [Live]
|
| 12. | Freaks for the Festival
|
| 13. | Sesroh
|
| 14. | Bye Bye Blackbird
|
| 15. | Conversation
|
| 16. | Three for the Festival [Live]
|
| 17. | Bright Moments [Live][Excerpt]
|
Jazz / Post-Bop, Hard Bop
Recorded between 1961 and 1976
Rahsaan Roland Kirk (tenor, baritone & bass saxophones, stritch, manzello, clarinet, flute, piccolo, trumpet, English horn, pipes, harmonica, whistle, harmonium, percussion, vocals)
Charles Mingus (piano, vocals), Cissy Houston (vocals), Charles McGhee (trumpet), Dick Griffin (trombone), Ron Burton (piano), Cornell Dupree, Keith Loving, Hugh McCracken (guitar), Vernon Martin, Steve Novosel, Major Holley, Ron Carter (bass), Sonny Brown, Steve Gadd, John Goldsmith, Bernard Purdie, Charles Crosby, Jimmy Hopps (drums), Joe Habao Texidor (percussion)
A man who spent his entire two-decades-plus career railing against the concept of musical prejudices, legendary reedman Rahsaan Roland Kirk took what he liked from fusion, light jazz-pop, avant-garde experimentation, and every bit of his own encyclopedic knowledge of jazz history to create a thoroughly individual sound, a passionate blend of humor, anger, and uncompromising principles. This two-disc, 31-selection anthology, compiled and sequenced by Kirk's creative foil, producer Joel Dorn, covers his commercially and artistically fruitful tenure at Atlantic Records from 1968 to 1975, along with a 1961 Charles Mingus date, OH YEAH, which features Kirk's trademark multi-reed playing. While the necessary lack of any recordings from his '60s tenure at Mercury Records keeps DOES YOUR HOUSE HAVE LIONS from being a definitive Kirk anthology, there can be no argument with this extraordinary music, and it's the most concise introduction yet to Kirk's multi-faceted genius.
Includes liner notes by Joel Dorn, Stan Dunn, Hal Willner and Stanley Crouch.
The Atlantic/Rhino anthology line has delighted novices and angered purists who have balked at what they deem questionable inclusions and exclusions, plus non-chronological sequencing and liners with plenty of personal anecdotes but limited musical analysis. The 31 selections on this two-disc set range from 1961 to 1976 and cover Rahsaan Roland Kirk originals, covers, straight jazz, pop/soul, gospel-backed and hard bop workouts, and feature both live and studio segments. While it is a bit jarring to hop from the early '60s to the '70s and back, series compiler Joel Dorn opted for stylistic organization rather than session exactness. Any hardcore Kirk fan will want the individual albums the label is reissuing. Otherwise, the anthology serves its purpose, which is to spotlight a brilliant player and make you want to hear more. ~ Ron Wynn, 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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
