Customer Reviews

We Free Kings

5 star:		(8)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

It is certainly true that Roland Kirk (later to become Rahsaan Roland Kirk, of course) was unfairly dismissed for the showmanship that included simultaneously playing multiple horns, producing odd and disconcerting sounds on nose flute, and employing strange instruments (black mystery pipes, for example). The showmanship overshadowed the undeniable musicianship and love of music he possessed. Still, Kirk sometimes contributed to the criticism with albums that included much commentary by him and less than stellar selection of material.

On this early effort (1961), Kirk turns in one of his best musical performances on record. (He was always best absorbed in person.) From the opening notes of "Three for the Festival," which became a mainstay in his repertoire, he is in firm, swinging, soulful control. As usual, we have the wonderful illusion of at least three Kirks swinging away, as on the bright "A Sack Full of Soul." We have the breathy, funky flute he mastered, in "You Did it, You Did It." And on the aptly named "The Haunted Melody." we have the surprisingly poigant lyricism of which he was often capable.

What we also have, though, is a top-notch group behind him, a situation in which he did not always find himself on his later Atlantic albums. Richard Wyands, an underrated talent who seemed to vanish after the '60s, is alert and responsive on piano, and of course there's no drop-off when the always-in-touch Hank Jones takes over; the great Art Davis contributes his always sensitive accompaniment on bass; and Charlie Persip hangs with every angular change Kirk offers, as on the great version of Charlie Parker's "Blues for Alice." Persip's snare work, in particular, shines throughout.

"We Free Kings" ranks with the great "Rip, Rig, and Panic," among Kirk's Verve releases (originally released on Mercury). Despite what the title cut might suggest, this is not an exercise in free jazz; rather, it is tightly and deeply in the pocket. It is a first-rate release that allows the true talent of this great musician shine through.

Most of us rock-music fans found out about Roland Kirk via Ian Anderson of Jethro Tull, who got his trademark flute-attack from Kirk records. While I still enjoy Tull, Kirk was the original flute-monster, aptly described in the review above as a "one-man reed section." While this album isn't his most entertaining and eccentric, in my opinion--that honor goes to "The Case of the Three-Sided Dream in Audio Color," one of his last LP's--its bebop-influenced bluesy jazz stands up better against "Dream's" self-consciousness. The version of "We Three Kings" that provided the title is perhaps the best track, but Kirk's twelve-bar workouts "Three for the Festival" and "Sack Full of Soul" remain in the mind almost as long. Kirk acknowledged his influences with a cover of "Blues for Alice," but then he stunned--and still stuns--with the succinct "You Did It, You Did It," a short piece consisting almost entirely of the flute attack which is not quite like anything heard before, and perhaps since. Buy this!

this CD is one of Rahsaan's earlier recordings, from the early-mid 60's, before he added "Rahsaan" to his name. I had the benefit of hearing Rahsaan before I ever knew about him playing multiple instruments simultaneously, so I was only introduced to his music by the quality of his playing and melody, which is always superb. Later on, when I found out about him and the things he did that no-one else could do (playing multiple instruments, his method of circular breathing to sustain a note, etc), it only added to my amazement of how talented this man was. Fortunately, I had the opportunity of seeing him perform live a couple of times before he died, and I can honestly say there will never be anyone quite like him again. this CD showcases his talent and you will not be disappointed

It is sometimes forgotten that Roland Kirk was a jazz musician in the first place and not an entertainer who'd amuse the masses with playing, say, three saxophones at the same time. This album is a good reminder of what a fanatastic musician Roland Kirk really was. I personally think it is *MUCH* better than any of the stuff he released in the Seventies. But maybe I am a little bit too conservative - who knows? The album is a classic jazz album which features plenty of good compositions by Roland Kirk ("Three For The Festival" is amongst them) plus a cover of a song by Charlie Parker. He uses the different types of saxophones for different songs, and it is very nice to hear the differences between their sounds. Any fan of jazz from the early Sixties will love this album.

As many records as I have in my collection, I've got to say that this is one I really do keep coming back to... I've never gotten tired of it.
I like everything about it, the solos, the groove, the engineering, the mastering... heck, even the cover.

Though the hippie/rock and roll folks may remember him for him more "out there" stuff and strange antics, this particular session is pretty much straight ahead toe tappin' hard bop/swing with a very up front multi-horn laden Roland Kirk kicking out idea after idea. Yeah, he's gimmicky at times... but in a good and genuinely expressive way. The "statement", "fun" and "technical elements" never cease to be BRILLIANTLY balanced. ...Keep in mind that this was still the era that you were rated on your ability to blow in the tradition of Bird... having your own voice then, met playing the licks and lines of the Parker omnibook, while at the same time putting a bit of yourself into it... and this session features a young Kirk demonstrating his ability to do just that... swing in the bebop tradition, yet have a sound that the second you hear it you go, "Yeah, that's Roland Kirk...!" (Incidentally, I like his flute playing more than anything else... Especially the cool vocalizations he used to do and the way he'd gasp for air so soulfully between licks... If you too are a flute fan check him wailing out on a nasty little slow blues screamer called "You Did It, You Did It"...)

All in all, fans of groovy yet swinging late 50's/early 60's groovy hard bop/soul Jazz really need to get their hands on this and DOMINO...

As for the personnel...
Richard Wyands/Hank Jones -- piano
Art Davis/Wendell Marshall -- bass
Charlie Percip - drums

And the tunes... some really catchy stuff... and lot's and lot's of rhythmic variety within the norms of the medium of the era... he does it all, and as a result you can listen straight through a million times, and if you're mind drifts its because you've g'wine up to heavan... not stopped paying attention.

Conclusion: grab dis' before its back out of print!

This is an album that I've owned for over thirty years, first a beat copy of original Mercury release, with a cherry album cover, a re-release on the Trip label and now a CD. Sack Full o Soul remains one of my favorite jazz cuts of all time, the Roland Kirk solo right up there with all my other favorites. Top it off, this recording sounds totally fresh and well engineered. This revealed when played through a new tube output hotrod DAC. Buy it and be you will be a cool cat!

I purchased this for my hairdresser's, who is a 62ish year old black male, birthday. He likes this artist but had been unable to find his work locally. He said that he would recommend this to jazz fans and or fans of Kirk's music. If you are either you should enjoy.

As the other reviewers have pointed out, this is a great album. If you like this one, also check out his other great album, Domino (currently only available in an import version but well worth the extra money). It's the closest in terms of both quality and style.

Roland Kirk was a genius - that's the only title appropriate for him. On this and most everything he did he casts a spell so dense that you will get completely sucked in and never be able to get out. Or ever want to.