This was pure Mingus; all the sentiments out, good or bad, expressed through art. The most amazing with him was that he was inspiring, not to say demanding, from his band colleagues, even the guests, to follow. The result was what we hear. Great jazz.
Every time I listen, Kirk's solo is like a lesson on how to balance in & out playing, a comprehensive study in advanced jazz saxophone techniques, and virtually a history lesson of jazz.
I was there third row center. Adams gave an exemplary performance. However Rhasaan was not to be denied. For me except possibly Trane's cadenza of I Want to Talk About You at Birdland, one of the greatest tenor solos I ever heard.
one nite, late 60's, Lennie's on the Turnpike north of Boston. Roland Kirk, playing a long tenor solo, got me up out of my chair, lifted me on his hip, and walked around the room, continuing his solo. man!
Atlantic Records was there and that photo is of course the album cover. I've been to Carnegie many times, saw Monk solo, etc......but this 1974 concert was my favorite. Excitement reigned supreme. The vibe was unlike no other
Notes On Roland Kirk's solo at 14:00. Sy Johnson's liner notes from the Mingus live album sums up the scenario perfectly: "C Jam Blues begins with John Handy's tenor, an instrument not usually associated with him, but which Mingus had asked him to bring. He is followed by Hamiet Bluiett, frequently sounding like a tenor on his baritone saxophone, exploiting the extreme registers and sonorities of the instrument. George Adams follows Bluiett, moving outside very quickly, at which point, Mingus notes, Rahsaan Roland Kirk began 'listenin' his ass'. When Rahsaan follows, he begins simply, but before he has played one chorus, he suddenly lunges into a George Adams imitation. A delighted Mingus recalls, 'he was cuttin' him at his own shit.' The lesson over, Rahsaan plays a long solo, full of climaxes." Andy Statman, whose music blends traditional Jewish melodies of Eastern Europe with the energy of post-bop modal and free jazz, was in the crowd that night. He watched in awe as Kirk handed George Adams his head on a silver platter before a packed house. "At first he just imitated Adams, mocking him," Statman recalled. "Then he went into this incredible solo. He knew the breadth of the music and could use it like a weapon. Kirk had a tremendous ego and the talent to back it up. He was amazing but arrogant." "Forget it!" Steve Turre said with a husky laugh. "He wiped George Adams out at that Mingus gig at Carnegie Hall. He made George look like a little kid. When Rahsaan took his solo, he played the whole history of the music." "George Adams wasn't gonna out-do that man!" Stubblefield cackled. "There were only two musicians Rahsaan took a back seat to and that was John Coltrane and Charlie Parker. Anybody else better take a number! Rahsaan was nuclear. He left nothin' behind! If you had to follow him you might as well as just got your money and gone home." From Stubblefield's description you can almost see a pair of charred scorch marks where Rahsaan stood on the stage at Carnegie Hall. "Oh, it was entertaining enough," Gary Giddins wrote, "lots of screaming and hollering and laughing and jumping and even a saxophone group-grope when Rahsaan Roland Kirk and George Adams started pawing each others horns. When it comes to rousing an audience through sheer strength of lungs, there is no competing with Rahsaan. His cheeks grew and deflated with mesmerizing regularity while this master of circular breathing pounded Carnegie with overtones and lines longer than most people's whole solos. Everybody loved it, almost." Mingus certainly had a ball. "Kirk a notorious scene-stealer, pulled out all the stops in his solos, to the audience's delight. Mingus grinned like a rotund Cheshire cat through the whole thing." Peter Keepnews wrote in Down Beat. "There is no doubt in my mind that Rahsaan Roland Kirk is one of the heirs to the mantle handed down by Coleman Hawkins, Charlie Parker and John Coltrane as one of the primary exponents of saxophone playing in the world today," Jon Hendricks declared. "He will not be challenged!" -- Jon Kruth. www.furious.com/perfect/rolandkirk2.html ```````
In conversation with Mr.Kirk around 1972 at The SF Both/And Jazz Club Roland told me of sitting in with Sonny Stitt Who "Gave me a spanking"!"I had to go home and she'd for a month"He said!!
Don Pullen on piano, Mingus on bass and Dannie Richmond on drums. The front line is Jon Faddis on trumpet, and a saxophone section comprised of Charles McPherson on alto saxophone, with John Handy on alto and tenor, Roland Kirk on alto (his 'stritch is a straight Buescher alto) and tenor, George Adams on tenor saxophone and Hamiet Bluiett on baritone saxophone.
Roland Kirk sometimes reminds me of Eddie Harris which may sound strange but they both play the saxophone and make it sound like a toy , and groove and swing ! Great stuff.
agree with you Mitch! Was in the first tier box, first seat. a memorable night for me and the gang with me. my thoughts were does Roland Kirk ever come up for air.
I wrote the notes for the reissue of this Lp onto CD - Mingus and Dannie provide the platform to ensure everyone feels both comfortable and challenged. In particular, Mingus plays only quarter notes - on both pieces. Why? See my notes ~~~ Recorded live at Carnegie Hall, New York, New York on January 19, 1974. Originally released on Atlantic (1667). One source says: Includes original release liner notes by Sy Johnson as well as reissue liner notes by Andrew Homzy.
There are several sax payers here. John Handy tenor, Charles McPherson alto, Hamiet Bluiett baritone, George Adams & Rahsaan Roland Kirk tenors. One should be able to distinguish the different styles on tenor. Though, I mean, c'mon, what Rahsaan does here is a clinic on the blues, and then some. Especially exhilarating coming on the heels of the monster of the time, George Adams.
Thats called circular breathing which is a technique thats very stressful on your heart. Some say that could be the reason he died from his second stroke at 43.
Nonsense is a response from a fool. I represent jazz artists and rwo of my unamed sax players have mentioned to me that they wont employ that technique. Oliver Nelson and Cannonball died at 43. And many others. All I'm saying is musicians know its stressful. Try asking a physician if it is, genius
I started out my comment with nonsense, so would you be calling me fool? I've used circular breathing techniques for over 35 years with my trumpet playing, and have enjoyed doing so. Haven't had any problems, too. Let's just agree to just disagree and focus our energy around Rahsaan, who we can both admit is pure genius.
+mitch cole Evan Parker is doing full concerts useing ONLY circular breathing and is doing that form the seventies... I never heard such a nonsense. circulare breathing is used in popular music (sardinian launeddas, australian didjeridoo) classical music (it's a traditional technique for oboes and bassoon and a recently aquired one for clarinets) and is used by thousands of musicians all over the world (Harry Carney was the first to use it in jazz in the twenties), among others me and Tony Mujica (none of us being a kid I think - I'm 45) and my former teacher Sandro Cerino (now 57) or David Liebman (still alive). cicrular breathing needs strong mouth muscles but doesn't need nothing more than usual breathing to our heart . it's less demanding than "normal" diaphragm breathing. the point is simple: when you need to take a breath you have to put air in your instrument with your cheecks (and/or tongue) while inhaling from the nose. it's not difficult nor demanding itself.
Oh my lord. That sax solo... mind blowing
This was pure Mingus; all the sentiments out, good or bad, expressed through art. The most amazing with him was that he was inspiring, not to say demanding, from his band colleagues, even the guests, to follow. The result was what we hear. Great jazz.
Every time I listen, Kirk's solo is like a lesson on how to balance in & out playing, a comprehensive study in advanced jazz saxophone techniques, and virtually a history lesson of jazz.
And he's funny! He does parody but in good clean fun --- like tickling his brothers. Hey George! Check out the splay....
This is phenomenal !!!!!!!!!!
As a saxomophononist, listening to this counts as praying to God. Roland Kirk is just....supernatural.
ah yes lisa simpson is the greatest saxomophonist of all time
I was there third row center. Adams gave an exemplary performance. However Rhasaan was not to be denied. For me except possibly Trane's cadenza of I Want to Talk About You at Birdland, one of the greatest tenor solos I ever heard.
+mitch cole I love the quote "Roland Kirk starts a solo, which, referring to Mingus: "was cuttin' him (Adams)at his own shit"
If I would have been in the third row center I think my brain would have melted. I mean that in a good way.
I totally agree regarding Trane's cadenza at live at birdland.👍
lets not forget the man on the bass whos time is 150% perfect
one nite, late 60's, Lennie's on the Turnpike north of Boston. Roland Kirk, playing a long tenor solo, got me up out of my chair, lifted me on his hip, and walked around the room, continuing his solo. man!
Roland Kirk plays fire rings around the other sax players. Memorable and intoxicating.
Atlantic Records was there and that photo is of course the album cover. I've been to Carnegie many times, saw Monk solo, etc......but this 1974 concert was my favorite. Excitement reigned supreme. The vibe was unlike no other
This is just OUTSTANDING! I can't stop listening to this....
Notes On Roland Kirk's solo at 14:00.
Sy Johnson's liner notes from the Mingus live album sums up the scenario perfectly: "C Jam Blues begins with John Handy's tenor, an instrument not usually associated with him, but which Mingus had asked him to bring. He is followed by Hamiet Bluiett, frequently sounding like a tenor on his baritone saxophone, exploiting the extreme registers and sonorities of the instrument. George Adams follows Bluiett, moving outside very quickly, at which point, Mingus notes, Rahsaan Roland Kirk began 'listenin' his ass'. When Rahsaan follows, he begins simply, but before he has played one chorus, he suddenly lunges into a George Adams imitation. A delighted Mingus recalls, 'he was cuttin' him at his own shit.' The lesson over, Rahsaan plays a long solo, full of climaxes."
Andy Statman, whose music blends traditional Jewish melodies of Eastern Europe with the energy of post-bop modal and free jazz, was in the crowd that night. He watched in awe as Kirk handed George Adams his head on a silver platter before a packed house. "At first he just imitated Adams, mocking him," Statman recalled. "Then he went into this incredible solo. He knew the breadth of the music and could use it like a weapon. Kirk had a tremendous ego and the talent to back it up. He was amazing but arrogant."
"Forget it!" Steve Turre said with a husky laugh. "He wiped George Adams out at that Mingus gig at Carnegie Hall. He made George look like a little kid. When Rahsaan took his solo, he played the whole history of the music."
"George Adams wasn't gonna out-do that man!" Stubblefield cackled. "There were only two musicians Rahsaan took a back seat to and that was John Coltrane and Charlie Parker. Anybody else better take a number! Rahsaan was nuclear. He left nothin' behind! If you had to follow him you might as well as just got your money and gone home." From Stubblefield's description you can almost see a pair of charred scorch marks where Rahsaan stood on the stage at Carnegie Hall.
"Oh, it was entertaining enough," Gary Giddins wrote, "lots of screaming and hollering and laughing and jumping and even a saxophone group-grope when Rahsaan Roland Kirk and George Adams started pawing each others horns. When it comes to rousing an audience through sheer strength of lungs, there is no competing with Rahsaan. His cheeks grew and deflated with mesmerizing regularity while this master of circular breathing pounded Carnegie with overtones and lines longer than most people's whole solos. Everybody loved it, almost."
Mingus certainly had a ball. "Kirk a notorious scene-stealer, pulled out all the stops in his solos, to the audience's delight. Mingus grinned like a rotund Cheshire cat through the whole thing." Peter Keepnews wrote in Down Beat.
"There is no doubt in my mind that Rahsaan Roland Kirk is one of the heirs to the mantle handed down by Coleman Hawkins, Charlie Parker and John Coltrane as one of the primary exponents of saxophone playing in the world today," Jon Hendricks declared. "He will not be challenged!"
-- Jon Kruth.
www.furious.com/perfect/rolandkirk2.html
```````
Thanks. Kirk is 9:30 to 15:00
In conversation with Mr.Kirk around 1972 at The SF Both/And Jazz Club Roland told me of sitting in with Sonny Stitt Who "Gave me a spanking"!"I had to go home and she'd for a month"He said!!
Wow. fantastic discover. Thanks. 😎 😎 😎
This Whole Tribe Is On Da' Loose; Watch Out !!!!!!!!!!!!!!.
You can hear and feel the electric atmosphere.. This just cooks!.
Don Pullen on piano, Mingus on bass and Dannie Richmond on drums. The front line is Jon Faddis on trumpet, and a saxophone section comprised of Charles McPherson on alto saxophone, with John Handy on alto and tenor, Roland Kirk on alto (his 'stritch is a straight Buescher alto) and tenor, George Adams on tenor saxophone and Hamiet Bluiett on baritone saxophone.
I don’t think mr Kirk was on alto here, the horn solos to me sounded like a tenor, bari, tenor, tenor, trumpet, alto in that order
Wow, this is Great Jazz played by Masters!!!
伊坂幸太郎のサブマリンを読んで気になって聴きました 正直ジャズに興味がなかったけどこれは圧巻！
同志の方に出会えた喜びで思わずコメントしてしまいました。ジャズを進んで聴くのは初めてですが、最高の25分間を過ごさせて頂きました…！！
雪葉。 コメントありがとうございます😊
私も伊坂さんが大好きで、サブマリンを読んで気になって検索してしまいました(*´꒳`*)b
ジャズは全く無知で聞いたこともないてますが…これは圧巻でした‼️
思わず私もコメントしてしまいました‼️
えみのChannel 同士！www
これ見に来る日本人の大半はサブマリンで名前が出たからでしょうねw
one of the best
I often think that Kirk gave his best while working with Mingus
Was sitting third row center with Rasaans cousin!
Roland Kirk sometimes reminds me of Eddie Harris which may sound strange but they both play the saxophone and make it sound like a toy , and groove and swing ! Great stuff.
The best!👍
so, so heavy. I can dig it!
Holy!! Kirk owns the sax!! He is a true God..OMG I have not heard yet any phrasing like these before sorry but not even from Bird!!
agree with you Mitch! Was in the first tier box, first seat. a memorable night for me and the gang with me. my thoughts were does Roland Kirk ever come up for air.
no he doesn't.
Ha! He controlled air.
Anyone catch that Alfie quote by RRK at 10:17?
Some musically hip billionaire should hire some good movie guy to do a biopic of Charles.
siempre un total...excelente.
Musica maravillosa...amazing music...
Gracias elpaisa2005!! excelente
I wrote the notes for the reissue of this Lp onto CD - Mingus and Dannie provide the platform to ensure everyone feels both comfortable and challenged. In particular, Mingus plays only quarter notes - on both pieces. Why? See my notes ~~~ Recorded live at Carnegie Hall, New York, New York on January 19, 1974. Originally released on Atlantic (1667). One source says: Includes original release liner notes by Sy Johnson as well as reissue liner notes by Andrew Homzy.
Feracidade sonora!
Unreal!!!
Rahsaan stepped up to do his solo and as he passed George Adams he turned around as if to say not bad young man, but check this out!
I am looking for the transcription of Roland Kirk's solo.
LOL
9:34
A música só passou a existir, verdadeiramente, após o jazz!
smokin!!!
@everett butler....Some people think that circular breathing technique might have contributed to his 2 strokes.
KIRK KIRK KIRK and KIRK
ca fait longtemps ...
14:30 who´s the saxofonist ??!?!!? ?!?!?!? ?!?!?!?!??! ?!?!?!??!? ?!?!?!??!?!??!?!?!??!!!!!!? ?
Rahsaan Roland Kirk
There are several sax payers here. John Handy tenor, Charles McPherson alto, Hamiet Bluiett baritone, George Adams & Rahsaan Roland Kirk tenors. One should be able to distinguish the different styles on tenor. Though, I mean, c'mon, what Rahsaan does here is a clinic on the blues, and then some. Especially exhilarating coming on the heels of the monster of the time, George Adams.
誰もRoland Kirk には勝てない！
Yow!!
What Key is this In?
What would you think of Cm for a song called C jam blues?
T.L. Hettema I don't know man some people play it in other keys, I've hear a C jam blues in G here in youtube once
Oscar Peterson could not be reached for comment.
Oh mein Gott, uuuunnnglaublich, Sax, aber auch Trumpet, nicht von diesem Planeten, Mamma mia
Thats called circular breathing which is a technique thats very stressful on your heart. Some say that could be the reason he died from his second stroke at 43.
+mitch cole Nonsense! Circular breathing isn't stressful on the heart, especially if you do it right. As a matter of fact, it's quite relaxing.
+mitch cole Completely unfounded comment; do you even yoga, bro? ;)
I use it when I play trumpet. Never have any problems. Don't need to "yoga". Been doing so for 35 years. So now, who's unfounded?
+Tony Mujica Tony, respect, sir; I was only addressing my comment to user "Mitch Cole" as you can see in the tag that I used.
+malverde YES, I see. Misunderstood. Thanks for clarifying.
Nonsense is a response from a fool. I represent jazz artists and rwo of my unamed sax players have mentioned to me that they wont employ that technique. Oliver Nelson and Cannonball died at 43. And many others. All I'm saying is musicians know its stressful. Try asking a physician if it is, genius
I started out my comment with nonsense, so would you be calling me fool? I've used circular breathing techniques for over 35 years with my trumpet playing, and have enjoyed doing so. Haven't had any problems, too.
Let's just agree to just disagree and focus our energy around Rahsaan, who we can both admit is pure genius.
+mitch cole Evan Parker is doing full concerts useing ONLY circular breathing and is doing that form the seventies... I never heard such a nonsense. circulare breathing is used in popular music (sardinian launeddas, australian didjeridoo) classical music (it's a traditional technique for oboes and bassoon and a recently aquired one for clarinets) and is used by thousands of musicians all over the world (Harry Carney was the first to use it in jazz in the twenties), among others me and Tony Mujica (none of us being a kid I think - I'm 45) and my former teacher Sandro Cerino (now 57) or David Liebman (still alive). cicrular breathing needs strong mouth muscles but doesn't need nothing more than usual breathing to our heart . it's less demanding than "normal" diaphragm breathing. the point is simple: when you need to take a breath you have to put air in your instrument with your cheecks (and/or tongue) while inhaling from the nose. it's not difficult nor demanding itself.
Roscoe Mitchell is 79 and still palying....