1 800 222 6872

Roland Kirk/Rahsaan Roland Kirk: Volunteered Slavery

Audio Samples

>Volunteered Slavery
>Spirits up Above
>My Cherie Amour
>Search For the Reason Why
>I Say a Little Prayer
>Roland's Opening Remarks
>One Ton
>Ovation & Roland's Remarks
>Medley: A Tribute to John Coltrane: Lush Life / Afro-Blue / Bessie's Blues
>Three For the Festival

Track List

>Volunteered Slavery
>Spirits up Above
>My Cherie Amour
>Search For the Reason Why
>I Say a Little Prayer
>Roland's Opening Remarks
>One Ton
>Ovation & Roland's Remarks
>Medley: A Tribute to John Coltrane: Lush Life / Afro-Blue / Bessie's Blues
>Three For the Festival

Album Remarks & Appraisals:

"In the 60s, tenor saxophonist and multi-instrument wiz Roland Kirk was an anomaly in a decade of anomalies. In an era where Jazz Musicians were supposed to be Serious Artists, Kirk was both an Artist AND an entertainer - when the Jazz World was drawing battle lines between orthodoxy and shattering convention, between groove and suspension of groove, between mainstream bop/swing, Soul-Jazz and Free Music, Kirk refused to take sides and instead embraced the music's past AND future. Kirk could play like Ben Webster one moment, King C

urtis the next and Albert Ayler the following.This disc is a reissue of a long out-of-print Atlantic album from 1969: half-studio ("side one") and half-live ("side two") at the Newport Jazz Festival. With this album, Kirk does for the late 60s Top 40 what John Coltrane did for "My Favorite Things." He performs Stevie Wonder and Dionne Warwick/Burt Bacharach songs with a mix of sincere affection and satirical rowdiness - he adores the melodies while he burlesques ("My Cherie Amour" with intentionally flatly sung "LA LA LA's") and opens them up wide and soars them into the heavens ("I Say A Little Prayer"). While many players of the day either acted like pop and R&B didn't exist or acted as if Jazz's progress stopped at Sonny Rollins, Kirk strove to be both "far-out" and "in the pocket," to purr and roar in the same set or even the same tune. His band mates are up to the task, maintaining potent swing/groove and some bristling, to-the-point solos. The only down side to this set is the shambling, rather tuneless Spirit Choir on a couple of songs as they "sing" some painfully naïve lyrics ("everyone has a dream/everything has a scheme/let's all search for the reason the whyyyyy") that probably sounded "deep" and "questing" in '69 but just sound silly today. But that's only on 2 or 3 tracks - the rest is stratospheric and timeless." -JazzReview

Album Reviews:

Rolling Stone (3/7/70, p.48) - "...[ROLAND KIRK] is one of the absolute best jazz musicians in the world, as good as the best on all the axes he plays....[he's] got an amazing sense of humor in everything he does..."

Album Notes

Personnel: Rahsaan Roland Kirk (vocals, tenor saxophone, flute, nose flute, whistle, manzello, stritch, gong); Charles McGhee (trumpet); Dick Griffin (trombone); Ron Burton (piano); Vernon Martin (bass); Charles Crosby, Sonny

Brown, Jimmy Hopps (drums); Roland Kirk Spirit Choir.

Recorded at Regent Sound Studios, New York, New York in 1969 and The Newport Jazz Festival, Newport, Rhode Island on July 7, 1968. Originally released on Atlantic (1534).

One of Roland Kirk's very best albums, 1969's VOLUNTEERED SLAVERY is a half-studio, half-live smorgasbord that comes closer than possibly any of his dozens of other releases to capturing all of his many musical sides. Opening with the classic call-and-response soul jazz title track, side one features two brilliant pop covers, Stevie Wonder's "Ma Cherie Amour" and a scorching reinterpretation of Bacharach-David's "I Say a Little Prayer," reworked into a eulogy for the recently slain Bobby Kennedy. Between those two comes the brief but stirring "Search for the Reason Why," a gospel-tinged hippiesque singalong that in lesser hands might sound drippy. Side two, recorded at 1968's Newport Jazz Festival, is built around the brilliant "Tribute to John Coltrane," a three-song medley that pays tribute without imitation, and the legendary "Three for the Festival," Kirk's wild yet controlled solo played simultaneously on three different reed instruments. This is a jazz classic.



Reviews

There are currently no reviews, be the first one!
Login or Create an Account to write a review

See Also

There are no recommendations posted for this product