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DUX Orchestra: Duck Walks Dog (With Mixed Results)
by John Sharpe
The cover of the 1994 archival recording Duck Walks Dog (With Mixed Results) by the DUX Orchestra presents an intriguing line up which combines American free jazzers with Swedish baritone saxophonist Mats Gustafsson. Even within the New York City contingent there is diversity, as veteran stickman Walter Perkins (who played with Sonny Rollins, Roland Kirk and ...
Blue Note Records: Lost In Space: 20 Overlooked Classic Albums
by Chris May
For anyone with a passion for Blue Note, it is hard to conceive of an album that has been “overlooked," let alone twenty of them. For connoisseurs of the most influential label in jazz history, the passion can be all consuming: if a dedicated collector does not have all the albums (yet), he or she will ...
Atlantic Records: More Giant Steps: An Alternative Top 20 Albums
by Chris May
Ahmet and Nesuhi Ertegun's Atlantic Records differs in one key respect from Prestige, Riverside, Impulse!, Strata-East and Flying Dutchman, the most prominent labels covered so far in this Building A Jazz Library series. Those labels' discographies consist almost exclusively of jazz. Atlantic had parallel interests in soul and rhythm-and-blues and, later, rock. This had consequences, as ...
Lonnie Liston Smith & The Cosmic Echoes: Expansions
by Chris May
If ever a first wave jazz-funk album deserved a 180gm vinyl reissue in 2020 it is this near masterpiece. It was originally released in 1975 on Flying Dutchman, the label Bob Thiele set up after he left Impulse!. Jazz-funk divided the jazz world in the 1970s as much as free-jazz had done a ...
Prestige Records: An Alternative Top 20 Albums
by Chris May
Along with Alfred Lion's Blue Note and Orrin Keepnews' Riverside, Bob Weinstock's Prestige was at the top table of independent New York City-based jazz labels from the early 1950s until the mid 1960s. Like those other two labels, Prestige built up a profuse catalogue packed with enduring treasures. Originally a record retailer, Weinstock ...
Sir Stevie: Jammin' on Stevie Wonder - Part 3
by Ludovico Granvassu
There's so much amazing material penned by Stevie Wonder, so here we go again with the third part of our birthday special. After a dive in renditions from the '70s during part one and two, here we mix things up with a combination of contemporary stunners, like the unique take of Alicia Hall Moran on “Signed, ...
Bob Thiele's Flying Dutchman Records: Ten High Altitude Albums
by Chris May
Bob Thiele is best remembered for his years as the artistic director and house producer of Impulse!. He took over from founder producer Creed Taylor in 1961 and stayed with the label until 1969, when he left to run his own Flying Dutchman Records. Thiele's tenure at Impulse! was its most glorious period, when Thiele curated ...
Drummers as Bandleaders: An Alternative Top Ten Albums
by Chris May
Drummers have been key members of every band which has changed the course of jazz history, from Max Roach with Charlie Parker to Elvin Jones with John Coltrane and onwards. Yet drummers have been the leaders of a surprisingly small proportion of landmark bands themselves. Chick Webb in the 1920s was the first of the few. ...
The Authenticity of Rahsaan Roland Kirk (1961 - 1972)
by Russell Perry
Roland Kirk, who began recording in 1956, had been an ideal sideman for Charles Mingus, appearing on the 1961 release Oh Yeah. In the 1960s, he established himself in the first tier of jazz players with a series of well-received records for Mercury and Limelight before settling into a decade-long relationship with Atlantic. “A ...
About Rahsaan Roland Kirk
Results for pages tagged "Roland Kirk"...
Rahsaan Roland Kirk
Born:
Kirk was born Ronald Theodore Kirk in Columbus, Ohio, but felt compelled by a dream to transpose two letters in his first name to make Roland. In 1970, Kirk added "Rahsaan" to his name. Preferring to lead his own groups, Kirk rarely performed as a sideman, though he did record with arranger Quincy Jones, Roy Haynes and had especially notable stints with Charles Mingus. He played the lead flute and solo on Jones' Soul Bossa Nova, a song popularized in the Austin Powers films (Jones 1964; McLeod et al. 1997). His playing was generally rooted in soul jazz or hard bop, but Kirk's knowledge of jazz history allowed him to draw on many elements of the music's history, from ragtime to swing and free jazz
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