[JPL] Roland Kirk

[Phillip Greenlief]

Kind Sirs Len & Jim,

Thanks for anecdotes! 

I've been a fan of his music since I discovered him around 1979, and the
recordings with Mingus are indeed quite wonderful. I wasn't around in
the days when he played Keystone Korner (I moved here in 1979), but
would have liked to have heard him in person. I have seen some films,
and they're brilliant. I really got into Prepare Thyself to Deal with a
Miracle, The Case of the Three Sided Dream..., and Other Folks Music as
an introduction, and from there I discovered the Mingus stuff and the
earlier stuff, like Rip Rig and Panic and the early quartet recordings
on Mercury. 

His tenor is still an inspiration when I think of sound innovators - he
was one of those guys that took Coleman Hawkin's lineage and went
somewhere completely different with it.

Cheers!
Phillip Greenlief
c/o Evander Music
PO Box 22158 Oakland, CA
94623-9991
www.evandermusic.com

-----Original Message-----
From: jazzproglist-bounces at jazzweek.com
[mailto:jazzproglist-bounces at jazzweek.com] On Behalf Of Jim Wilke
Sent: Monday, July 02, 2007 7:01 PM
To: Jazz Programmers Mailing List
Subject: Re: [JPL] Roland Kirk 

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Len, that's certainly the kind of guy he was.  My personal recollection 
of R.R.Kirk comes from doing several live broadcasts with his group 
from The Penthouse in Seattle in the 60s.  Before I saw him in action I 
thought anybody attempting to play more than one reed instrument at a 
time must be attempting some kind of circus act, but the first 15 
minutes of listening convinced me that he was a real creative artist.  
Funny and entertaining, but like Dizzy, serious about his art and an 
unbelievable talent whether playing one instrument or three at a time. 
He usually had several hanging around his neck along with various 
whistles, sirens & nose flutes and he was very creative with duct tape 
to hold them together.  He also stitched together his sets like some 
kind of crazy quilt, employing pop songs, spirituals & hymns, jazz 
burners & ballads, classical pieces and dialogue.

One of my favorite moments came between tunes when he chided listeners 
to the live broadcast ... "I know you're out there" he said,  "sittin' 
in the dark tapin' my music,  while the good folks here in the club are 
spending their money to hear me play!"    We hung out a bit after gigs 
and he revealed himself to be a philosopher and quite a student of 
human nature as well.   I treasure the memory of hearing him in person 
and getting to know him a little.  I certainly paid a lot more 
attention to his albums after that.  I've got audio tape but I wish I 
had video of some of those sets!   Interesting to consider how a guy 
who was blind before it became "visually impaired"  ("BLIND POWER!" he 
used to shout)  was so visually entertaining and how he used that to 
draw people into his aural art.

Jim Wilke
Jazz After Hours, PRI
www.jazzafterhours.org

On Monday, July 2, 2007, at 05:46  PM, Len Dobbin wrote:
>
> The difference perhaps because of his suffering a stroke - "The Jaki 
> Byard Experience" is another that you might like - and check out his 
> work with Mingus.  In person he was UNREAL - a fond memory in 1964, 
> upon discovering it was my birthday, he bought me a beer and dedicated

> the first set to me. I first met him record shopping in Sam Goodys in 
> NYC - not long before he made his first Montreal appearance.
>
> Try UTUBE he has to be seen as well as heard !
>
> Len
>
> ----- Original Message ----- From: "Phillip Greenlief" 
> <pgsaxo at pacbell.net>
> To: "'Jazz Programmers Mailing List'" <jazzproglist at jazzweek.com>
> Sent: Monday, July 02, 2007 7:55 PM
> Subject: RE: [JPL] Roland Kirk
>>
>>
>> -----Original Message-----
>> On Behalf Of Len Dobbin
>> Sent: Monday, July 02, 2007 4:32 PM
>> To: Jazz Programmers Mailing List
>> Subject: Re: [JPL] Roland Kirk
>>
>>
>> The Roy HAYNES session with Kirk and Tommy was done in May 1962 for
>> Impulse.
>> "Out Of The Aftrenoon" is the title.  "Rip, Rig and Panic" with an
>> entirely
>> different personnel: Jaki Byard, Richard Davis and Elvin Jones is
from
>> January 1965.  I don't see the connection.
>>
>> Len Dobbin
>>
>> PG:
>> The connection is the way he plays on both albums...the sound of his
>> horn, phrasing, etc. Yes, they are a few years apart, but HIS playing
>> (not the band) sounds similar to me. On his later recordings he has a
>> really different "sound" on the horns...that's all I was saying.
>>

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