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Search Result for Artist Roland Kirk
viewing 1 To 9 of 9 items
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ACV 2039LP
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Excellent early work from Roland Kirk. He plays alto, tenor, and soprano -- and on all tracks, he plays them in his unique "3-in-1" style, in which he's actually blowing all horns at the same time! The result is an incredible sound, unlike anyone else we can think of -- and it's an amazingly raw tone that still swings very hard. Players include Jimmy Madison on piano, Carl Pruitt on bass, and Hank Duncan on drums -- a really rootsy quartet that helps Roland hit a really gutbuckety sound on the record. Titles include "Triple Threat," "Slow Groove," "Roland's Theme," "Easy Living," "The Nearness of You," and "A La Carte."
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LS 86008LP
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Exact repro reissue of Roland Kirk's album focusing entirely on flutes. Originally recorded in 1964 and featuring Horace Parlan (piano), Michael Fleming (bass), Walter Perkins and Bob Moses (vibraphone), with an appearance from vocalist Crystal Joy Albert. Otherworldly treatments of classics (Gershwin's "My Ship") and Kirk's originals ("Serenade To A Cuckoo," "The Business Ain't Nothin' But The Blues").
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SD 3007LP
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"Here Comes The Whistleman showcases Rahsaan Roland Kirk in 1967 with a fine band, live in front of a host of invited guests at Atlantic Studios in New York. His band for the occasion is stellar: Jacki Byard or Lonnie Smith on piano, Major Holley on bass, Lonnie Smith on piano, and Charles Crosby on drums. This is the hard, jump blues and deep R&B Roland Kirk band, and from the git, on 'Roots,' they show why. Kirk comes screaming out of the gate following a double time I-IV-V progression, with Holley punching the accents along the bottom and Byard shoving the hard tight chords up against Kirk's three-horn lead. The extended harmony Kirk plays -- though the melody line is a bar walking honk -- is extreme, full of piss and vinegar." --All Music Guide
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SD 1640LP
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Essential studio album from the pioneer of "black classical." Regarded as one of his most experimental recordings, featuring the side-long "Saxophone Concerto," a riveting, 21-minute multi-faceted excursion into mutated horn lines and droning brass. Exact repro reissue manufactured by Rhino, originally released in 1973.
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SC 1502LP
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1968 album featuring Ron Burton (piano), Steve Novosel (bass) and Jimmy Hopps (drums). Between opener "The Black And Crazy Blues" and closing track "Lovellevelliloqui," Rahsaan Roland Kirk tenderly surrenders himself to pure sound, although there's some "middle of the road blowing" in-between to keep your head in place. Exact repro reissue, manufactured by Rhino.
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SD 1518HLP
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180 gram exact repro reissue, manufactured by Rhino. Starts off with a short but brilliant narrative, "Black Mystery Has Been Revealed," before proceeding into the, uh, expansive multi-part "Expansions," an ambitious masterpiece featuring more than a dozen players and a string section. Also, covers of Charles Mingus' "IX Love" and Willy Woods' "Hot Cha" make this an extreme, wide ranging masterpiece.
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SD 1534HLP
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180 gram exact repro reissue, manufactured by Rhino. Originally released in 1969. Side two was recorded live at the Newport Jazz Festival in 1968 and features a 3-part suite tribute to John Coltrane. Vocal backgrounds by The Roland Kirk Spirit Choir push this one over the top. "We are all driven by an invisible whip. Some run, some have fun, some are hip, some tip, some dip, but we all must answer to the invisible whip."
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SD 1601LP
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Exact repro reissue, manufactured by Rhino. Originally released in 1972. Featuring Billy Butley (guitar), Sonelius Smith (piano), Henry Pearson (bass), Khalil Mhrdi (drums), Richard Landrum (conga drums) and Joe Habad Texidor (percussion). Tracks include "Ain't No Sunshine," "What's Goin' On," "I Love You Yes I Do," and "One Nation."
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LS 86027LP
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Exact repro reissue, originally released on Limelight in 1965. Recorded in January 13, 1965 by Roland Kirk (tenor saxophone, manzello strich, castanets and siren), Elvin Jones (drums), Jaki Byard (piano) and Richard Davis (double bass). This is the U.S. stereo version (the mono version released in the U.K. had different cover art). "First there is the elegant modal music of 'No Tonic Press,' with its non-linear mathematic groove maintained with verve by Jones in all the knotty spots. Then there is the ethereal Middle-Eastern harmony juxtaposed against the changes in 'Once in a While' by Bennie Green. But the whole thing comes together by the third tune, when Kirk sifts his hearing of New Orleans music into gear with 'From Bechet, Byas, and Fats.' Using his loopy manzello to approximate the soprano saxophone, Kirk and Byard trade fours on some odd open-D modal theme before shifting into the music of Bechet's time and coming out on tenor with direct quotes from the Don Byas book, with Byard and Davis turning around on a blues motif as Jones double times with a sheet of rim shots. Through the rest, the set moves consistently more outside, with Kirk flipping instruments and Jones and Davis turning the rhythmic patterns around on Byard, who takes it all in stride and shifts the harmonic levels to Kirk's intensity on the title track and 'Mystical Dream.' The set ends with the bluesy, somnambulant groove of 'Slippery, Hippery, and Flippery.' There's a paranoid opening with Jones running all over the kit, Byard slipping up and down the board, and Kirk making siren sounds before entering his bluesy post-bop nightmare of a jam that winds itself out over studio distortion, Kirk's noises, and a killer tenor solo that caps everything on the album. Positively smashing." -- All Music Guide
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