Artist: Rahsaan Roland Kirk
Genre(s):
Jazz
Other
Discography:
Kirk in Copenhagen
Year: 2004
Tracks: 6
Blacknuss
Year: 2002
Tracks: 11
Domino
Year: 2000
Tracks: 25
Bright Moments
Year: 1993
Tracks: 14
The Inflated Tear
Year:
Tracks: 10
Arguably the well-nigh exciting sax soloist in jazz history, Kirk was a postmodern earlier that term regular existed. Kirk played the continuum of wind tradition as an instrument unto itself; he felt little remorse about mixture and twinned elements from the music's history, and his concoctions ordinarily seemed instinctive, if not inevitable. When discussing Kirk, a with child consider of attention is always paid to his eccentricities -- playing several horns at erst, qualification his own instruments, prank on stage. However, Kirk was an immensely creative artist; perchance no improvising saxophonist has ever amok a more than comprehensive technique -- ane that covered every scene of idle words, from Dixieland to free -- and perhaps no early jazz instrumentalist has ever been more spontaneously imaginative. His skills in constructing a solo are of particular note. Kirk had the power to tempo, supreme Headquarters Allied Powers Europe, and lift his improvisations to an extraordinary degree. During whatsoever given Kirk solo, just at the degree in the track of his performance when it appeared he could not upgrade the strength tier any higher, he always seemed able to turn it up in time another notch.
Kirk was born with sight, only became blind at the age of two. He started performing the bugle and trumpet, then erudite the clarinet and C-melody saxophone. Kirk began performing tenor sax professionally in R&B bands at the age of 15. While a teen, he observed the "manzello" and "stritch" -- the former, a modified version of the saxello, which was itself a somewhat curving variance of the B flat soprano sax; the latter, a modified straight E flat countertenor. To these and early instruments, Kirk began devising his own improvements. He reshaped all terzetto of his saxes so that they could be played simultaneously; he'd work tenor with his left field helping hand, finger the manzello with his right-hand, and sound a dawdler on the stritch, for example. Kirk's self-invented technique was in evidence from his first recording, a 1956 R&B record called Triple Threat. By 1960 he had begun to incorporate a siren whistle into his solos, and by '63 he had mastered rotary breathing, a technique that enabled him to play without pause for breather.
In his early 20s, Kirk worked in Louisville earlier moving to Chicago in 1960. That year he made his minute album, Introducing Roland Kirk, which featured saxophonist/trumpeter Ira Sullivan. In 1961, Kirk toured Germany and exhausted terzetto months with Charles Mingus. From that point forth, Kirk largely lED his have chemical group, the Vibration Society, recording prolifically with a range of sidemen. In the early '70s, Kirk became something of an militant; he lED the "Malarkey and People's Movement," a group devoted to opening up new opportunities for jazz musicians. The group adoptive the tactics of interrupting tapings and broadcasts of television and radio programs in protest of the small number of African-American musicians employed by the networks and recording studios. In the course of his career, Kirk brought many yet unused instruments to jazz. In addition to the saxes, Kirk played the nose whistle, the piccolo, and the harp; instruments of his possess design included the "trumpophone" (a trumpet with a soprano saxophone mouthpiece), and the "slidesophone" (a small trombone or lantern slide trumpet, as well with a sax mouthpiece). Kirk suffered a paralyzing stroke in 1975, losing motion on unitary side of his body, only his homemade saxophone technique allowed him to uphold to play; beginning in 1976 and lasting until his death a year after, Kirk played one-handed.
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