Rahsaan Roland Kirk - Boogie-Woogie String Along For Real (1977)

2016-07-04T12:20:29Z

Rahsaan Roland Kirk - Boogie-Woogie String Along For Real (1977)


A1 	Boogie-Woogie String Along For Real 	
A2 	I Loves You, Porgy 	
A3 	Make Me A Pallet On The Floor 	
A4 	Hey Babepips 	
B1 	In A Mellow Tone 	
B2 	Summertime 	
B3 	Dorthaan's Walk 	
B4 	Watergate Blues

Jonathan Abramowitz - 	Cello
Sanford Allen - Violin
Julien Barber - Balafon
Phil Bowler - Bass
Sonny Brown - Drums
James Buffington - French Horn
Doreen Callender  - Violin
Selwart Clarke - Viola
Charles Fambrough - Cello
William S. Fischer - Piano (Electric)
Kenneth Harris - Flute
Percy Heath - Cello
Kathryn Kienke- Violin
Rahsaan Roland Kirk - Saxophone
Harold Kohon - Violin
Regis Landiorio - Violin
Linda Lawrence - Viola
Yoko Matsuo - Violin
Gifford McDonald - Drums
Eugene J. Moye - Cello
Tony Posk - Violin
Eddie Preston - Trumpet
Sammy Price - Piano
Hilton Ruiz - Keyboards
Arvell Shaw - Bass
Steve Turre - Trombone

The final album Rahsaan Roland Kirk ever recorded remains one of his finest. Post-stroke, Kirk struggled with his conception of the music he was trying to make. Boogie-Woogie String Along for Real is the payoff. The title track features strings playing distended harmonics over his blowing and the backing of a guttersnipe rhythm section and a full-blown horn section -- including a very young trombonist named Steve Turre -- behind him. From here, Kirk works veritable magic with the material of the age, swimming deeply in the blues that Gershwin didn't know he had in "I Loves You Porgy," getting an aging Tiny Grimes to wail his guitar-playing ass off on "Make Me a Pallet on Your Floor," and then flowing elegantly on Ellington's "In a Mellow Tone" and Gershwin's "Summertime." It's almost too much to bear as the emotions come falling from the horn and the rhythm section tries to keep them balanced, but the heartbreak and joy are everywhere. When Kirk closes the disc with his own stomping hard-swing R&B of "Dorthaan's Walk" (dedicated to his wife) and takes it out with Percy Heath's "Watergate Blues," he closes the circle. With Hilton Ruiz playing a deep-grooved Latin funk against Kirk's harmonica and alto, Heath playing cello, and Turre opening up a huge space of feeling behind the front line as Sonny Brown and Phil Bowler keep it all in check on drums and bass respectively, Kirk sums it all up in his alto solo. There is so much sadness, betrayal, pain, and resolve in his lines that the rules of Western music no longer apply. The all-inclusive vision Kirk has of a music embraces all emotions and attitudes and leaves no one outside the door. This is Kirk's Black Classical Music, and it is fully realized on this final track and album. ---Thom Jurek, Rovi

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Rahsaan Roland Kirk - The Inflated Tear (1967/1998)

2016-06-27T15:39:29Z

Rahsaan Roland Kirk - The Inflated Tear (1967/1998)


1 	The Black And Crazy Blues 	5:59
2 	A Laugh For Rory 	2:47
3 	Many Blessings 	4:36
4 	Fingers In The Wind 	5:07
5 	The Inflated Tear 	4:46
6 	The Creole Love Call 	3:45
7 	A Handful Of Fives 	2:35
8 	Fly By Night	4:09
9 	Lovellevelliloqui 	3:59

Roland Kirk - Tenor Saxophone, Saxophone [Manzello, Stritch], Clarinet, Flute, Whistle, English Horn, Performer [Flexafone]
Ron Burton – Piano
Steve Novosel – Bass
Jimmy Hopps – Drums
+
Dick Griffith – Trombone (8)

The debut recording by Roland Kirk (this was still pre-Rahsaan) on Atlantic Records, the same label that gave us Blacknuss and Volunteered Slavery, is not the blowing fest one might expect upon hearing it for the first time. In fact, producer Joel Dorn and label boss Neshui 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 in the 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 stunning 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 Mingus understood Ellington in the way Kirk did. That evidence is here also. If you are looking for a place to start with Kirk, this is it. ---Thom Jurek, Rovi

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Rahsaan Roland Kirk - Boogie-Woogie String Along For Real (1977)

Rahsaan Roland Kirk - The Inflated Tear (1967/1998)