RR Kirk: COMPLIMENTS OF THE MYSTERIOUS PHANTOM

[The Mule]

"We bring you music that can't be heard nowhere else..."

Just picked this up on Joel Dorn's Hyena label. First off, it's a digipack instead of those black plastic cases. Cover art--as it's a previously unreleased live performance--is just okay.

The music however.....

...is terrific. Sound quality is very good and the performances are pretty awesome. Kirk blows the hell out of McCoy's "Passion Dance" and then shifts gears into a nearly 10-minute beautiful version of "My One and Only Love." While versions of "Bright Moments" and "Old Rugged Cross" seem to be incomplete, the version of "Blacknuss" here is complete and incredible. Kirk begins by explaining to the audience that the tune uses only the black keys of the piano, sings "B, L, A, C, K, N-U-S-S" at a medium tempo and then launches into a rapid fire chant of prominent African-American names and the word "freedom" with pianist Hilton Ruiz playing his heart out. Indeed, Kirk talks throughout the set and his stage patter is great. Indeed, at one point he tells the audience:

"For some of the people who was stupid enough not to show up, you tell 'em how dumb (they are)."

If you're a Kirk fan heed the above advice and "show up."

[rockefeller center]

Two posts by Doug Sclar from the Bright-Moments yahoo group:

Prior to it's release, the only copies I let out were to George

Bonifacio, John Kruth, and Joel Dorn. I recorded it in 1974 and it sat

until 1996 when I rediscovered it and a bunch of other live recordings I

made in that era. After the release of Dog Years, I attempted to contact

George and John to pursue the option of getting a release so these works

could be shared and enjoyed by others. It was a long process and COTMP is

the result. I did mention the recordings a few years back on the egroup

so that might be where you heard of it.

I did record the whole performance, which consisted of 2

shows. Interestingly enough, the house was cleared between shows, so very

few people saw both shows. This in itself is not so unusual, but Rah

treated the night as one large set with a break. There was absolutely no

duplication of material from the first show to the second. In fact, at one

point during the 2nd show, he mentions that 2 shows of music is not really

enough to cover the whole scope of music that they had to offer. I didn't

realize it at the time, but he sure said a mouthful.

As impressed as I was with his performances, I was shocked that he could

play so many diverse styles. I have read since that Rah could interpret

and incorporate virtually any style of jazz out there, and have seen no

evidence that any other artist could do this to such a degree.

Well it was a bit unconventional. I used 2 battery operated Sony MX-6

stereo mixers and 10 microphones. Everything was recorded in stereo, in

that there were 2 mics for piano, 2 for percussion, 2 for Rahsaan, 3 for

drums and just 1 for bass. The mics for Rahsaan were Sennheiser 441's and

there were 2 on a 'xy' stand adapter about 1 foot apart. I did let Rah

know that there were stereo mics and he did move around quite a bit. I

don't think Joel Dorn was too fond of that aspect, but in my humble

opinion, it made for some cool sounding effects. Though I mentioned the

stereo mics to Rah, I didn't mention that I was recording. I guess he

assumed that the stereo mics were there for the club PA.

As I mentioned, I had recorded quite a few shows at the Backdoor. One

artist, (Kenny Rankin) upon learning about my recording him, took the

tapes. He was not upset, but claimed he wanted to hear them and would send

them back. I am still waiting As a college student those tapes were

costly. As a result, I decided not to tell the future artists that I was

recording them. In hindsight, perhaps this was a little sleazy, but

ultimately it is proving to have been a good idea.

The shows were recorded on a Revox A77 stereo tape recorder at 7 1/2 ips

with DBX 157 noise reduction.

Unfortunately, I mixed 'live' with open air headphones in the sound booth,

so the mix is not as strong as the overall sound quality. Fortunately, I

reviewed the recording of the 1st show and made improvements prior to the

2nd show.

[connoisseur series500]

I bought this cd and although it is quite good, I find most of Kirk's 70s live sessions to sound alike. Many of the same songs are played.

In my opinion, this session is not essential if you already own "Dog Years," or "Bright Moments," or perhaps even "I, aye, eye." I've owned all of these and have kept only "Bright Moments," as a representative of Kirk's 70s live performances. They are all too much alike. His live stuff is well-represented thanks to Joel Dorn's efforts.

[The Mule]

But then come that magic moment where Kirk lashes out and plays this one thing that makes me go completely nuts and jump up and march the room just because I'm incapable to contain my joy/astonishment about the sheer beauty of it all.

The guy has managed to bring too many tears to my eyes.

Damn, I think that may be the best description of Kirk's music I have ever read!

[connoisseur series500]

I agree with you that the concerts often sound similar, with similar tunes being played etc. But then come that magic moment where Kirk lashes out and plays this one thing that makes me go completely nuts and jump up and march the room just because I'm incapable to contain my joy/astonishment about the sheer beauty of it all.

The guy has managed to bring too many tears to my eyes.

Wonderfully said.

[DrJ]

I have been eyeing this one. Personally, I also feel there is no such thing as too much Roland Kirk. It's moved up the list based on this strong recommendation!

[The Mule]

Mule, have you ever heard the '72 Newport festival performance?

THAT's what I mean! Like, woaaaaaoooo. This guy is THE BADDEST MO-FO to ever EVER lay hands on a saxophone and blow into it. Sheeeeesh.

If you mean the I, EYE, AYE album the answer is no. It's definitely on my list of must-haves, tho.

I REALLY like the live stuff on the DOG YEARS IN THE FOURTH RING collection, especially the version of "I Say A Little Prayer."

[connoisseur series500]

I REALLY like the live stuff on the DOG YEARS IN THE FOURTH RING collection, especially the version of "I Say A Little Prayer."

Virtually the same version can be found on "I, aye, eye," (if my memory is correct) and on "Volunteered Slavery."

[rockefeller center]

Excerpt from Jim Szantor's Newport review, down beat, September 1972:

[rockefeller center]

Kirk's letter to down beat referring to Szantor's review, part 1:

(down beat, November 1972)

Edited September 16, 2003 by rockefeller center

[rockefeller center]

part 2:

[kh1958]

That critic is a moron.

As far as I know, only Impressions, from the Jam Session, was released on Newport in New York 1972, and I've only seen it on LP. Kirk is awesome on that cut.

[connoisseur series500]

I don't think so.

They both make good and bad points. Kirk has no reason to call the critic prejudiced. None of that came through on his review.

The review may have been too harsh; I can understand Kirk getting upset about it.

Artists are not known for their honesty regarding their personal lives. Not sure who to believe here.

Both come out of this episode looking bad to me.

[dave9199]

Does anyone here have the following vhs: Rashaad Roland Kirk: Sound? Please PM.

[The Mule]

I REALLY like the live stuff on the DOG YEARS IN THE FOURTH RING collection, especially the version of "I Say A Little Prayer."

Virtually the same version can be found on "I, aye, eye," (if my memory is correct) and on "Volunteered Slavery."

We will have to agree to disagree. I think the performance of "I Say a Little Prayer" on DOG YEARS IN THE FOURTH RING is much wilder and more intense than the one on VOLUNTEERED SLAVERY.

Complaining about Kirk repeating various tunes on albums is like complaining that Monk played the same 12 tunes throughout his career.

Couw, sorry I misread your post. Obviously I haven't heard or seen that performance. Where have you heard/seen it?

Edited September 16, 2003 by The Mule

[rockefeller center]

Mule,

http://www.eclipse.net/~fitzgera/rahsaan/nwptny72.htm

[The Mule]

Mule,

http://www.eclipse.net/~fitzgera/rahsaan/nwptny72.htm

Thanks! Don't suppose that's still in print?????

[Adam]

Does anyone here have the following vhs: Rashaad Roland Kirk: Sound? Please PM.

Hi Dave,

I PMed you about it on your other thread looking for it, but the email was kicked back to me.

Anyway, here's a link to the other thread with information about it.

http://www.organissimo.org/forum/index.php...?showtopic=3496

[connoisseur series500]

We will have to agree to disagree. I think the performance of "I Say a Little Prayer" on DOG YEARS IN THE FOURTH RING is much wilder and more intense than the one on VOLUNTEERED SLAVERY.

Complaining about Kirk repeating various tunes on albums is like complaining that Monk played the same 12 tunes throughout his career.

Obviously, you've given them more closer listenings than I have. Yeah, the Dog Years version is more intense. Still, unless one is a total Roland Kirk nut or completist, I just don't see any reason to get all his 70s live stuff.

[The Mule]

Still, unless one is a total Roland Kirk nut or completist, I just don't see any reason to get all his 70s live stuff.

I'm guilty as charged! Take me away!

But where to, the boobie-hatch or jazz jail?????

[connoisseur series500]

thank you very much for posting that mr rockefeller!

conn, have you heard it? The critic is a stupid ass for calling on Kirk like that. Man, playing this solo, the guy saved the WORLD not just the jam session.

Mule: sent you a PM

No, Couw, I haven't heard it.

I was just reacting to the written comments from both parties.

[JSngry]

I remember that review, and I remember that letter. Szantor's criticism seemed a bit much, especially after I hear the record (and BTW, SOMEBODY needs to reissue those Cobblestone NEWPORT IN NEW YORK sides in a comprehensive set), and his response is just plain weak, Rahsaan's response might seem equally over the top today, but at the time, it seemed like darn near EVERY jazz musician who would speak openly about critics in the press made a variation of the same theme. The sixties carried a looong hangover with them, doncha' know.

What's REALLY interesting to me is that somebody has the resources to scan and post old DB articles!

Think we could get the Mobley article/interview by John Litweiler? That's one of the best pieces that magazine ever ran. March 29, 1973.

And only 50 cents!

[rockefeller center]

Think we could get the Mobley article/interview by John Litweiler? That's one of the best pieces that magazine ever ran. March 29, 1973.

And only 50 cents!

Fortunately I have this issue, enjoy.

http://www.organissimo.org/forum/index.php...=ST&f=15&t=3829

[Tom in RI]

Thanks John. Anyone know if the version of Perdido at the Newport in NY Jam was recorded?

[rockefeller center]

Anyone know if the version of Perdido at the Newport in NY Jam was recorded?

It may have been recorded but, to my knowledge, it has never been issued. "Impressions" (mistitled as "So What" on all Cobblestone issues) is the only recording with Kirk that has been released.