Roland Kirk : The Limelight/Verve Albums

Roland Kirk : The Limelight/Verve Albums

110.00

LP 1 - I Talk With The Spirits
LP 2 - Rip, Rig and Panic
LP 3 - Slightly Latin
LP 4 - Now Please Don't You Cry, Beautiful Edith

Recorded in 1964-1967

Mosaic Records : 4 LPs 180 gram, box and booklet

Brand New and Sealed Record

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LP 1 - I Talk With The Spirits :
Roland Kirk (flute, alto flute, African wooden flute), Bobby Moses (vibes), Horace Parlan (piano, celeste), Michael Fleming (bass), Walter Perkins (drums), Miss C.J. Albert, vocals.
A1 - Serenade To A Cuckoo
A2 - We'll Be Together Again/People
A3 - A Quote From Clifford Brown
A4 - Trees
A5 - Fugue'n And Alludin'
B1 - The Business Ain't Nothin' But The Blues
B2 - I Talk With The Spirits
B3 - Ruined Castles
B4 - Django
B5 - My Ship

LP 2 - Rip, Rig and Panic :
Roland Kirk (tenor sax, manzello, stritch, castenets, siren), Jaki Byard (piano), Richard Davis (bass), Elvin Jones (drums).
A1 - No Tonic Pres
A2 - Once In A While
A3 - From Bechet, Byas And Fats
A4 - Mystical Dreams
B1 - Rip, Rig And Panic
B2 - Black Diamond
B3 - Slippery, Hippery, Flippery

LP 3 - Slightly Latin :
Roland Kirk (tenor sax, manzello, stritch, baritone sax, piccolo, flute, bagpipes, chanter, siren), Virgil Jones (trumpet), Martin Banks (fluegelhorn), Garnett Brown (trombone), Horace Parlan (piano, celeste, vibes), Eddie Mathias (bass), Sonny Brown (drums, Nagoya harp), Montego Joe (congas), Manuel Ramos (percussion, vocal choir).
A1 - Walk On By
A2 - Raouf
A3 - It's All In The Game
A4 - Juarez
A5 - Shakey Money
B1 - Nothing But The Truth
B2 - Safari
B3 - And I Love Her
B4 - Ebrauqs

LP 4 - Now Please Don't You Cry, Beautiful Edith :
Roland Kirk (tenor sax, manzello, stritch, flute, clarinet), Lonnie Liston Smith (piano), Ronnie Boykins (bass), Grady Tate (drums).
A1 - Blue Rol
A2 - Alfie
A3 - Why Don't They Know
A4 - Silverlization
B1 - Fall Out
B2 - Now Please Don't You Cry, Beautiful Edith
B3 - Stompin' Grounds
B4 - It's A Grand Night For Swinging

Born August 7, 1936 in Columbus, Ohio, Roland Kirk grew up to become one of the most all-encompassing and unique virtuosos in jazz. Born essentially blind (his eyes could distinguish light), he showed an early desire to try to make music from things such as the end of a water hose. His first real instrument, at age 9, was the trumpet, but his doctor felt that it put too much pressure on his eyes, so he switched to saxophone and clarinet. He was a natural musician and a fast learner who was playing professional gigs while still in high school.

He dreamt at age 16 that he was playing three instruments at once. In a local music store, he soon found two rare oddities : a manzello which is a Spanish variant of the soprano sax with a bent, flaired bell and a stritch, which was essentially a straight alto sax with a large bell at the end. He worked out his own false fingerings to be able to play three-part harmony on the three saxophones. At age 23, he made his first album for King Records in Cincinnati. That label was the home of James Brown and other great R & B acts and Kirk's album quickly became a rare collector's item. He progressed quickly and became well known in Chicago where he made his second album for Argo in 1960 at the behest of Ramsey Lewis. He ventured to New York in 1961 making an album for Prestige Records with organist Jack McDuff. The war between the pro-Kirk and anti-Kirk factions in the musical and critical communities was taking shape. Genius or gimmick-laden huckster? History fell on the side of genius.

In 1964, Mercury announced Limelight, a new subsidiary with incredibly elaborate packaging. Roland moved to the new label and recorded what could be called his first concept record. He left all the saxophones at home and recorded an entire album on a variety of flutes. "I Talk With The Spirits" added vibist Bobby Moses to his quartet with Miss C. J. Albert's wordless vocal on two tunes. The material was all geared to the flute but ranged from the lyrical to the funky. Roland's kick-off original, the irresistible "Serenade To A Cuckoo" became a radio hit. The whole album is a coherent and beautiful statement.

To see Kirk live was like having a safe seat at the core of a typhoon and witnessing a force of nature facilely draw upon the entire history of jazz with dazzling energy, humor and imagination. That was glimpsed on 1963's "Kirk In Copenhagen," but the intensity that was Kirk and his music was not properly captured until an all-star studio album "Rip, Rig And Panic," made at Rudy Van Gelder's studio. The rhythm section of Jaki Byard, Richard Davis and Elvin Jones was a dream team for Roland. These were men who could follow him anywhere in a heartbeat and who meshed musically on the highest plane. They were, quite simply, on his level. This studio album packed all the power and energy of Roland Kirk live, moving effortless from New Orleans to swing to bop to free form to musique concrete.

Kirk's final Limelight album was no less ambitious though it was a clear attempt to cross over into more popular radio formats. Kirk and arranger Garnett Brown add brass and percussion to the mix for "Slightly Latin" which also includes the Coleridge Perkinson choir on three tracks. Two pop tunes are covered, a smokin' "Walk On By" and the Beatles' "And I Love Her." The rest is densely textured originals on which Roland plays a fair amount of baritone sax with the grace and power he brings to any reed instrument.

Before committing to an exclusive contract with Atlantic Records in 1967, he made one album for Creed Taylor at Verve. This would be his third and final album at the Van Gelder studio. "Now Please Don't Cry, Beautiful Edith" is a celebrated quartet affair with Lonnie Liston Smith on piano, Ronnie Boykins on bass and the indefatigable Grady Tate on drums. The program is mostly originals, but with a wide variety of grooves and melodic material. Fittingly, it kicks off with a beautiful Ellingtonian original blues "Blue Rol" which is a rare feature for Roland on clarinet.

Roland's collaborations with producer Joel Dorn on Atlantic would soon take a more conceptual shape and a variety of settings and themes. These four mid-sixties gems capture Roland Kirk at the height of his powers with his identity fully formed in four wonderful contexts.