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Kirk's Work [Remaster] by Roland Kirk (C...
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Product description:Full product description
Personnel: Roland Kirk (tenor sax, manzello, strich, flute, siren); Jack McDuff (Hammond organ); Joe Benjamin (bass); Arthur Taylor (drums).Recorded in Englewood Cliffs, New J...Read more
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More than yesterday's wine
When you hear a good artist at a bar, you think, “Hey, maybe this is the place I should be hangin’-out”. When you hear a great artist, you think, “Maybe I should sell all my ...Read more

Kirk's Work [Remaster] by Roland Kirk (CD, May-2007, Fantasy)

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Product description

Album Features
Artist:Roland Kirk
Format:CD
Release Year:2007
Record Label:Fantasy
Genre:Jazz Instrument, Saxophone

Track Listing
1. Three For Dizzy
2. Makin' Whoopee
3. Funk Underneath
4. Kirk's Work
5. Doin' the Sixty-Eight
6. Too Late Now
7. Skater's Waltz

Details
Playing Time:33 min.
Contributing Artists:Art Taylor
Producer:Esmond Edwards
Distributor:Universal Distribution
Recording Type:Studio
Recording Mode:Mixed
SPAR Code:n/a

Album Notes
Personnel: Roland Kirk (tenor sax, manzello, strich, flute, siren); Jack McDuff (Hammond organ); Joe Benjamin (bass); Arthur Taylor (drums).Recorded in Englewood Cliffs, New Jersey on July 11, 1961. Originally released on Prestige (7210). Includes original liner notes by Joe Goldberg.Digitally remastered by Phil De Lancie (1990, Fantasy Studios, Berkeley).Personnel: Rahsaan Roland Kirk (flute); Joe Benjamin (bass instrument); Art Taylor (drums).Additional personnel: Jack McDuff (Hammond b-3 organ).Audio Remasterer: Rudy Van Gelder.Multi-instrumentalist Roland Kirk (he added the Rahsaan in 1969) was so noted for playing a variety of instruments--often several at once--that sessions where he limits himself to one type of instrument, like this 1963 date, sound somewhat odd at first. Even while playing nothing but woodwinds, Kirk easily sidesteps the usual pitfalls of the all-woodwinds album, most often a certain limp treacliness. This is due in large part to an undeniably funky backing trio powered by the brilliant organist Jack McDuff, but Kirk's own playing is as meaty and impassioned as ever. He opens the set with whirlwind solos on "Three for Dizzy" and continues with the powerful title track and "Funk Underneath," a track showcasing bassist Joe Benjamin and drummer Arthur Taylor that forecasts the soul jazz of the late '60s. Even an utterly unironic cover of "The Skater's Waltz" escapes lightweightness.

Editorial Reviews
4 stars out of 5 -- [A] satisfying, blues-soaked studio date featuring the Hammond organ hero, Jack McDuff.
Mojo

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Kirk's Work [Remaster] by Roland Kirk (CD, May-2007, Fantasy)
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More than yesterday's wine

Created: 13/03/10
When you hear a good artist at a bar, you think, “Hey, maybe this is the place I should be hangin’-out”. When you hear a great artist, you think, “Maybe I should sell all my stuff and start my life over, maybe even quit my drinkin’ & hangin’-out -- period”. OK, brothers & sisters, somewhere between these two situations is where I find myself w/ this album. As a practical matter, nobody’s going to give it all up to follow the incomparable Rahsaan Roland Kirk, ‘cause he’s been dead for longer than many of you have been alive. Hey, the tracks on this CD are almost a half-century old. But by the same token, rejoice that they are still to be heard: the freshness, the skill, the wit – all are right there for as long as we have recorded sound. So, take a deep drink.
In the interests of full disclosure, I must say right up-front that even a so-so set by Kirk beats the bloody pulp out of most people’s best. While I can’t get quite so crazed over Brother Jack McDuff, I have admired his playing for dekades, and take a special pride in his having been, like me, from Champaign, Illinois. At first blush, the joining of these two artists may seem a little odd, as McDuff, for all his coolness, leans much more toward traditional blues & boogie styles than Kirk, who truly heard the music of other planets. Indeed, the first cut on this album could be most charitably described as good bar music, but not appreciably better than you could have heard then (or still hear now) at a thousand spots. But don’t stop. The cuts are incrementally richer, goofier, and sonically surprising as they go on, so that by the time you get to the unlikely conclusion – “The Skaters’ Waltz – you’d have to be clinically dead not to have big smile on your face.
To achieve transcendant greatness requires, to use an old formula, that the whole be greater than the sum of its parts. It would be misleading to make this claim for this album, but hey, when the parts are as good as this, take 'em and run!
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