Genre: Progressive Rock
Country : France
Year: 2018
Audio codec: MP3
Riptype: tracks
Bitrate: 320 kbps
Playtime: 01:39:25
Site: bitmuzic.com
Tracklist:
CD
01. Lies of a Minah Bird
02. Mia of the Amazon
03. Figure of Speech
04. Willow and the Queen of Goblins
05. Curse of a Cola Can
06. Atoms for Sale
07. Lines
08. Papapapapyro
09. All Potential Targets
10. Dragon Claws
11. Wisps and Worms
12. Out of the Mould
13. Tightrope Sirens
14. Event
15. Olivia of the Snow
16. Calista of the Seven Stars
17. Lily the Mermaid II
18. Kimiko the Oaken Empress
19. Pouchina from China
20. Yumi and the Kanji Clouds
21. Plume and the Pink Pandas
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Yukiko The Witch – Lies of a Minah Bird (2018) [MP3]
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Epitaph - A Song In Time 2018
Исполнитель: Epitaph
Альбом: A Song In Time
Страна: Mexico
Жанр: Progressive Rock
Год: 2018
Формат: MP3 CBR 320 kbps
Размер: 143 MB
Файлообменник: my-files,zippy
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Puel Kona: Mapuches Tocando Con Roger Waters, Contra El Fracking Y La Tristeza
La banda neuquina compartirá escenario con el ex Pink Floyd el 6 y 10 de noviembre próximos en La Plata. Es de público conocimiento que Roger Waters no es un artista cómodo. Es una persona comprometida con las problemáticas sociales que ocurren en el mundo. Y eso fue, seguramente, lo que lo llevó a elegir una banda mapuche para la apertura de sus shows en Argentina.
Aunque el grupo cuenta con el respaldo de Goy Ogalde (Karamelo Santo) y que ya ha tocado con importantes bandas nacionales y en grandes escenarios, esta situación no tiene ningún punto de comparación con todo eso.
"Tocar con él, con una leyenda viviente del rock y además tener el mérito que él nos haya elegido, nos haya invitado, uno no se lo imagina ni en sus mejores sueños. creo que hemos sido muy afortunados porque los referentes musicales que nosotros tenemos de cuando empezamos hemos podido tocar con casi todos. El día que nos invitó Manu Chao fue una emoción muy grande, estábamos ensayando como hoy, nos dijeron y no lo podíamos creer. Pero no lo podemos comparar con esto. Manu Chao por ahí si era un sueño, esto es algo que ni siquiera te lo podes llegar a imaginar. Ha sido una mezcla entre una emoción tremenda una alegría y una ansiedad que nos está agarrando ahora porque se acerca cada vez más la fecha. Es una mezcla de todas esas sensaciones. Esperamos que salga bien. Estamos trabajando mucho así que nuestra principal preocupación es esa. Después qué es lo que se genera a partir de ahí es imposible saberlo. Nosotros sabíamos que iba a ser algo grande, pero ni bien se anunció ya fue increíble. No tenemos aspiraciones de representar al pueblo mapuche, y ni siquiera a la región, porque es un pueblo muy grande, muy diverso. Pero nos sentimos muy respaldados por nuestra gente, por la gente mapuche, por la gente de Neuquén y por gente de otros lugares del país que nos escriben para darnos su apoyo. Creo que eso es lo que nos tiene como más emocionados a nosotros, la cantidad de gente que nos alienta, a veces, sin conocernos. Lo que queremos es mostrar un poco lo que es la música mapuche en sí, la instrumentalidad o la musicalidad mapuche que por ahí no es tan, tan conocida."Puel Kona
Un entorno increíble espera a Puel Kona: escenario de 66x25 metros, una pantalla led de 64x12 metros, 236 cajas de sonido y 332 dispositivos lumínicos.
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Serie "Bootleg" n. 281 - Mauro Pagani - Creuza de ma - Live Radio Popolare, Ottobre 2004
Ed ecco come promesso, nella speranza che possa essere l’incipit per il ritorno ad una collaborazione più intensa che mi è stata preclusa per troppo tempo a causa di fattori esterni indipendenti dalla mia volontà, sulle ali dell’entusiasmo stimolate dal post dell’amico George, il concerto che Mauro Pagani tenne nell’Ottobre del 2004 a Radio Popolare in occasione della riproposizione del capolavoro di Fabrizio De Andrè : “Creuza de ma“.
Il gruppo che lo accompagna è fondamentalmente lo stesso dell’album di cui sopra, partecipazioni incluse, ovvero:
Joe Damiani : batteria
Giorgio Cordini : chitarre
Max Gabanizza : basso
Eros Cristiani : Tastiere
con la partecipazione straordinaria di Gavino Murgia al sax e Mouna Amari negli stessi brani nei quali compaiono nell’album, e delle tre ragazze Elena (Nulchis), Patrizia (Rotonda) e Cristina (Lanzi) del gruppo Andhira, gruppo che nello stesso anno (2004) produsse un bellissimo album dal titolo : “…sotto il vento e le vele – incontro con Fabrizio De Andrè”, lavoro che mi sento di consigliarvi caldamente, anzi di farmi sapere se ne riteneste utile la pubblicazione nella StratoSfera.
"Andhira"
A differenza di altri concerti tenuti all’Auditorium devo dire che l’amico Nicolò Vecchia questa volta non volle assolutamente interrompere la performance, così da proporre quasi 60 minuti (la durata della trasmissione) di sola musica. E benché solitamente le interviste ed i racconti dei protagonisti siano davvero interessanti, direi che in questo caso possiamo apprezzare oltremodo questa scelta. Dopo la riproposizione del quasi intero album troviamo il brano Parole a caso dall’album Domani del 2003, un brano storico Europa Minor dal suo primo lavoro del 1978, e conclude con Davvero Davvero da Passa la bellezza del 1991.
Mi sono permesso di aggiungere 3 bonus tracks che ho trovato molto attinenti al lavoro in questione: la prima è Creuza de ma, eseguita da Mauro Pagani con Cristiano De Andrè in occasione di una trasmissione dell ‘ 11 Gennaio 2009 dal titolo : “Che tempo che fa serata Fabrizio De Andrè”, quindi qualche anno dopo l’uscita della riproposizione dell’album da parte dell’artista bresciano. Ma qualche anno prima di questa uscita, e cioè il 12 Marzo 2000, sull’onda emozionale della scomparsa del Maestro genovese, si era tenuto un concerto al Teatro Carlo Felice della sua città, concerto ben documentato nell’album : Faber amico fragile… dal quale ho estrapolato il brano Sidùn del solo Mauro Pagani e ancora una volta, 9 anni prima, Creuza de Ma col figlio di Fabrizio, Cristiano De Andrè.
E’ tutto, buon ascolto e soprattutto buona vita a voi tutti, Frank-One
Nota finale del Capitano: nella sua infinita magnanimità l'amico Francone ci ha donato i files in formato lossless (WAV). Proponiamo dunque questo concerto anche in questo formato, oltre che in un comunque dignitoso mp3 bitrate 256 kb.
LINK WAV
LINK MP3
Words and music by Frank-One, cover and post by Captain
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Archimedes Badkar - Badrock För Barn I Alla Åldrar (1975)
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Blue Dream - Volume Blue 2018
Исполнитель: Blue Dream
Альбом: Volume Blue
Страна: US
Жанр: Heavy Psych Rock/Space/Funk/70's
Год: 2018
Формат: MP3 CBR 320
Размер: 114 MB
Файлообменник: Zippy
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Metamorfosi - E Fu Il Sesto Giorno - 1972 - Rock Progressivo Italiano - Italy
1. IL Sesto Giorno (4:36)
2. ...E Lui Amava I Fiori (4:38)
3. Crepuscolo (9:05)
4. Hiroshima (5:23)
5. Nuova Luce (3:55)
6. Sogno E Realta (5:57)
7. Inno Di Gloria (3:29)
Line-up / Musicians
- Jimmy Spitaleri / vocals, flute
- Luciano Tamburro / lead & rhythm guitars
- Enrico Olivieri / organ, harpsychord, piano, flute, synthesizer, vocals
- Roberto Turbitosi / bass, vocals
- Mario Natali / drums, percussion
1972 E Fu Il Sesto Giorno
1973 Inferno
2004 Paradiso
2011 La Chiesa delle Stelle - Live In Rome
2016 Purgatorio
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Maxophone - Maxophone - 1975 - Rock Progressivo Italiano - Italy
1. C'è Un Paese Al Mondo (6:39)
2. Fase (7:04)
3. Al Mancato Compleanno Di Una Farfalla (5:52)
4. Elzeviro (6:47)
5. Mercanti Di Pazzie (5:21)
6. Antiche Conclusioni Negre (8:54)
7. Il Fischio Del Vapore (1977 Single) (4:52)
8. Cono Di Gelato (Single b-side) (4:40)
Line-up / Musicians
- Alberto Ravasini / lead vocals, bass, acoustic guitar, recorder
- Roberto Giuliani / electric guitars, piano, backing vocals
- Sergio Lattuada / piano, electric piano, organ, backing vocals
- Maurizio Bianchini / horn, trumpet, percussion, vibraphone, backing vocals
- Leonardo Schiavone / clarinet, flute, alto & tenor saxes
- Sandro Lorenzetti / drums
With:
- Tiziana Botticini / harp
- Eleonora de Rossi / violin
- Susannna Pedrazzini / violin
- Giovanna Correnti / cello
- Paolo Rizzi / double bass
1975 Maxophone
1975 Maxophone (English Version)
2005 From Cocoon to Butterfly
2013 Live in Tokyo
2017 La Fabbrica Delle Nuvole
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Museo Rosenbach - Zarathustra - 1973 - Rock Progressivo Italiano - Italy
1. Zarathustra
- a. L'Ultimo Uomo (3:57)
- b. Il Re Di Ieri (3:12)
- c. Al Di La Del Bene E Del Male (4:09)
- d. Superuomo (1:22)
- e. Il Tempio Delle Clessidre (8:02)
2. Degli Uomini (4:01)
3. Della Natura (8:24)
4. Dell'Eterno Ritorno (6:15)
Line-up / Musicians
- Stefano "Lupo" Galifi / vocals
- Enzo Merogno / guitar, vocals
- Pit Corradi / Mellotron, Hammond organ, vibraphone, Farfisa el. piano
- Alberto Moreno / bass, piano
- Giancarlo Golzi / drums, timpani, bells, vocals
1972 Bordighera
1974 Zarathustra
1992 Museo Rosenbach Live '72
1992 Rare & Unreleased
2000 Exit
2012 Live in Studio
2013 Barbarica
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Morse Code - Morse Code Transmission -1971 - Symphonic Prog - Canada
1. Souvenirs of our days (2:24)
2. It's never ever easy to do (3:50)
3. Time (1:31)
4. Oh lord (2:55)
5. Hunting & laughing (2:03)
6. The friend (1:07)
7. Story-book life (2:58)
8. Fire sign (2:03)
9. Freedom train (3:34)
10. Today I'm alive (2:23)
11. One to one (2:50)
12. Two friends (1:45)
Line-up / Musicians
- Christian Simard / lead vocals, keyboards
- Jocelyn Julien / guitars
- Peter Schenkman / cello
- Al Cherny / Cajun fiddle
- Michel Vallée / bass, vocals (10)
- Raymond Roy / drums
1971 - Morse Code Transmission
1972 - Morse Code Transmission II
1975 La Marche Des Hommes
1976 Procreation
1977 Je Suis Le Temps
1983 Code Breaker
1995 D'un Autre Monde
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Moongarden - Moonsadness - 1994 - Symphonic Prog - Italy
1. Breaking Mirrors (8:58)
2. I Miss You More (4:07)
3. Seagulls (7:49)
4. The Girl And The Moonman (17:13) :
- a) Prologue
- b) Dialogue - The Oldman
- c) Moonman And The Girl Dance Under The Moon
- d) Close Hands
- e) Moonman Alone
- f) Why?
- g) A Summer Night
- h) Forever
Line-up / Musicians
- David Cremoni / electric & acoustic (6- & 12-string) guitars, arrangements & mixing
- Cristiano Roversi / keyboards, bass, arrangements & mixing
- Adolfo Bonati / drums, percussion
With:
- Simone Baldini / lead vocals
- Cristian Melli / flute
- Giorgio Signoretti / jazz guitar solo (4-e)
1994 - Moonsadness
1995 - Brainstorm of Emptyness
2001 - The Gates Of Omega
2004 - Round Midnight
2008 - Songs From The Lighthouse
2009 - A Vulgar Display of Prog
2014 - Voyeur
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Duffy - Just In Case You're Interested (1972 uk, exceptional hard psych prog rock, 2010 remaster)
Duffy were formed in London in the early 1970s by five guys in their late twenties: Stuart Reffold, vocalist, Barry Coote, guitarist, Joe Nanson, keyboardist, Patrick Sarjeant, bassist and Will Wright , drummer, they met in the university circuits of Cambridge and London.
In the essays, their music had clear influences from the early sonority of Deep Purple, Uriah Heep, Humble Pie and Jethro Tull, the kind of sound that was in vogue among early British youth of the era. It did not have the heavy mark of the Birmingham scene, which was already outlining the primitive heavy metal, not as progressive as the London scene, which was beginning to see the fuse of Pink Floyd and Yes. It was a sound of convergence.
They often played in university circuits, pubs and nightclubs across the central north-central axis of England, such as the Marquee, Fishmongers Arms and Eel Pie Island in London, The Star Hotel in Croydon, The Mothers in Birmighan, among others.
After getting a name in the local scenes, they were invited to attend major rock festivals, even opening for Deep Purple at the Pop Monster in 1971, until they met, -during one of those shows-, the Swiss producer Stephen Sulke, who had already worked with Santana, Melanie, Aretha Franklin and Buddy Miles.
Sulke became interested of their songs and invited them to record their debut album in Switzerland, where he had contacts with studios, sound engineers and others connected to the music industry, anyone who could be interested in the work of the group. The result was the album "Just in Case You're Interested", originally released by the German label Mabel Records in 1971. At that time they did not manage to release their LP in UK, but only in some European countries, South Africa and South America.
1. Matchmaker - 2:42
2. Long Lost Friend - 3:00
3. Judgement Day - 4:21
4. Amie - 2:30
5. It's My Life - 2:50
6. Rock Solid - 3:13
7. Don't Let Me Be Misunderstood (Bennie Benjamin, Horace Ott, Sol Marcus) - 5:49
8. Tell Me - 3:03
9. Riverside - 2:58
10.Place To Die - 2:13
All songs by Patrick Sarjeant, Will Wright, Barry Coote, "Leslie" Joe Nanson, Stuart Reffold except track #7
Duffy
*Patrick Sarjeant - Bass
*Will Wright - Drums
*Barry Coote - Electric Guitar
*"Leslie" Joe Nanson - Keyboards
*Stuart Reffold – Vocals
Free Text
the Free Text
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The C Sides Project - 10 Days 2018
Исполнитель: The C Sides Project (C-Sides)
Альбом: 10 Days
Страна: UK (South Wales)
Жанр: Progressive Rock
Год: October 26, 2018
Формат: MP3 CBR 320 kbps
Размер: 100 МБ
Источник: Сеть
Файлообменник: cloud.mail/my-files.ru
Третий альбом прогеров C-Sides из Южного Уэльса, на этот раз под вывеской The C Sides Project.
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Full Throttle Jazz Band - Full Throttle! Haruhiko Ohyabu Sound Action - 1970 from Japan [review only]
Here's a stunning libraryish unknown from the vaults, hidden from our modern eyes from almost half a century ago, and if you glance at the database page you might, like me, begin to 'salivate like a Pavlov dog' at the contents hidden therein-- I mean, we've got jazz-rock representations of famous muscle cars of the sixties-- oh man! First, look at the amazing cover art. Think of how nice that would feel to hold a steering wheel made of steel with that triangular configuration like those old plastic 1.5" 45 rpm adapters that would stay inside each single... and don't ever forget the rifle and handgun. What? weapons? Like, yeah, why not? You're not gonna pack a pistol in the glove compartment of that Alfa Romeo?
Let me now show to the world this treasure, left neglected in some old basement (complete with functioning bar and pool table presumably) never heard by humans until today, ready for the light like a lost Matisse at Christie's of the apocalyptic hard rock revolution. It's a slice of Datsun-Japanese Americana that speed reads all over the great interstates of the US of A with a go-go hyperactivity made musical in wailing sax-led bang-on jazz jam sessions like the hellraising soundtrack to a dusty road trip through whorehouses and Louisiana swamps where men will play the banjo and load a shotgun with the same hand, maybe because they only have one arm (gator got the other)... Oh look there's Mancini's Pink Panther run over by a Chevy Corvair, there's the Roadrunner at-long-last blown to fuzzbox smithereens by that acme improvised fusion device on the Sonoran Desert road, along with the martyr Roadkill E. Coyote... and there's the Grand Canyon on the Western rim, let's Evel Knievel our Corvette over and make it to the other side-- oops we missed we have to grab the tiny bush hanging from the ledge...
And it's all permeated by hypnagogic, disheveled, psychedelic gasoline fumes as the bass monkeys up and down those fat metal strings like big mango trees and obviously Mr Hammond is blues-scaling his flat blues notes and hammering his dissonant 7ths like musical notation penned by Will Burroughs of Naked Lunch fame at the Aphrodisiac Inn, pink flamingos in front of course, out back the outdoor pool with plastic chaise lounges to trip your acid on as the avant-free-jazz workout turns into a jungle of sound you can't machete out of without tearing your polyester bell bottom pants off:
Check out the James Bond Girl foreplay moans soundtracking sexy-sax taxi-driver-style making out all the way to third base in the Maserati Quattroporte, martini in hand, movin' it on to the comfy barcalounger at the no vacancy motel:
till she runs off holding her B-cup bra down the driveway, and you mustang-sally pedal to the stratocaster pickup metal and all night long you rev, rpm the rem to the Route 66 of dreams, roaring your 666 hp motor like ye ol' MGM lion of a sushi-grade Detroit, Japa-Jazz yabadaba Rock City and don't forget your heat: spewing out lead from the guitar, lead from the colt 44, lead from the low-octane Texaco outta that rumblin' muffler into the screw you clean air act...
Oh yeah, it's a legitimate representation of sixties-seventies zeitgeist fit for time capsule consumption by those cosmonauts, those paleontologists of the future, post-anthropocene, who will quizzically examine this beastly vinyl tyrannosaur and wonder, what the hell do jazz-rock and sports cars have to do with each other??? At least, until they pop the 8-track into the working "Shelby Cobra" and fall back down into that daredevil canyon where the bottom rocks are 3 billion years old and the rock 'n' roll is eternal...
You'll see on discogs that only one copy is available, and it's never been sold before-- talk about a rarity! We're lucky to get a taste. Here's one that I suspect will be worth in the multi-hundreds to a thousand in a year or two. Due to value, no link... sorry!
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Fuzzy Daddy - Popsyke Diaries - 31 October 2018 - Greeκ 70's Rock Rarities
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Roland Kirk - 1969 - Volunteered Slavery
Roland Kirk
1969
Volunteered Slavery
![00.jpg]()
01. Volunteered Slavery 5:40
02. Spirits Up Above 3:36
03. My Cherie Amour 3:17
04. Search For The Reason Why 2:04
05. I Say A Little Prayer 7:56
06. Roland's Opening Remarks 0:40
07. One Ton 4:55
08. Ovation & Roland's Remarks 1:45
09. A Tribute To John Coltrane 8:10
a. Lush Life
b. Afro-Blue
c. Bessie's Blues
10. Three For The Festival 4:00
Backing Vocals – Roland Kirk Spirit Choir
Bass – Vernon Martin
Drums – Charles Crosby, Jimmy Hopps, Sonny Brown
Piano – Ron Burton
Tenor Saxophone, Flute, Nose Flute, Gong, Whistle, Horns, Vocals – Roland Kirk
Trombone – Dick Griffin
Trumpet – Charles McGhee
Side two of this album (6-10) was recorded at the Newport Jazz Festival in 1968.
1969
Volunteered Slavery
02. Spirits Up Above 3:36
03. My Cherie Amour 3:17
04. Search For The Reason Why 2:04
05. I Say A Little Prayer 7:56
06. Roland's Opening Remarks 0:40
07. One Ton 4:55
08. Ovation & Roland's Remarks 1:45
09. A Tribute To John Coltrane 8:10
a. Lush Life
b. Afro-Blue
c. Bessie's Blues
10. Three For The Festival 4:00
Backing Vocals – Roland Kirk Spirit Choir
Bass – Vernon Martin
Drums – Charles Crosby, Jimmy Hopps, Sonny Brown
Piano – Ron Burton
Tenor Saxophone, Flute, Nose Flute, Gong, Whistle, Horns, Vocals – Roland Kirk
Trombone – Dick Griffin
Trumpet – Charles McGhee
Side two of this album (6-10) was recorded at the Newport Jazz Festival in 1968.
Before the issue of Blacknuss, Rahsaan Roland Kirk was already exploring ways in which to make soul and R&B rub up against jazz and come out sounding like deep-heart party music. Volunteered Slavery, with its beat/African chanted poetry and post-bop blues ethos was certainly the first strike in the right direction. With a band that included Charles McGhee on trumpet, Dick Griffin on trombone, organist Mickey Tucker, bassist Vernon Martin, drummers Jimmy Hopps and Charles Grady, as well as Sony Brown, Kirk made it work. From the stinging blues call and response of the tile track through the killer modern creative choir jam on "Spirits Up Above" taking a small cue from Archie Shepp's Attica Blues. But it's when Kirk moves into the covers, of "My Cherie Amour," "I Say a Little Prayer," and the Coltrane medley of "Afro Blue," "Lush Life," and "Bessie's Blues," that Kirk sets it all in context: how the simplest melody that makes a record that sells millions and touches people emotionally, can be filled with the same heart as a modal, intricate masterpiece that gets a few thousand people to open up enough that they don't think the same way anymore. For Kirk, this is all part of the black musical experience. Granted, on Volunteered Slavery he's a little more formal than he would be on Blacknuss, but it's the beginning of the vein he's mining. And when the album reaches its end on "Three for the Festival," Kirk proves that he is indeed the master of any music he plays because his sense of harmony, rhythm, and melody comes not only from the masters acknowledged, but also from the collective heart of the people the masters touched. It's just awesome.
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Roland Kirk - 1970 - Rahsaan Rahsaan
Rahsaan Roland Kirk & The Vibration Society
1970
Rahsaan Rahsaan
![R-9797073-1538417197-3452.jpeg.jpg]()
01. The Seeker 17:21
Black Classical Rap
The Seeker
Thank You, Bird
New Orleans
02. Satin Doll 2:16
03. Introduction 1:40
04. Medley 4:50
Going Home
Sentimental Journey
In Monument
Lover
05. Sweet Fire 6:02
06. Introduction 3:17
07. Baby Let Me Shake Your Tree 4:54
Bass – Vernon Martin
Congas – Alvern Bunn
Drums – James Madison
Piano – Ron BurtonSaxophone, Flute, Clarinet – Roland Kirk
Tambourine – Joe Texidor
Trombone – Dick Griffin
Tuba – Howard Johnson
Violin – LeRoy Jenkins
1970
Rahsaan Rahsaan
Black Classical Rap
The Seeker
Thank You, Bird
New Orleans
02. Satin Doll 2:16
03. Introduction 1:40
04. Medley 4:50
Going Home
Sentimental Journey
In Monument
Lover
05. Sweet Fire 6:02
06. Introduction 3:17
07. Baby Let Me Shake Your Tree 4:54
Bass – Vernon Martin
Congas – Alvern Bunn
Drums – James Madison
Piano – Ron BurtonSaxophone, Flute, Clarinet – Roland Kirk
Tambourine – Joe Texidor
Trombone – Dick Griffin
Tuba – Howard Johnson
Violin – LeRoy Jenkins
Roland Kirk and his band -- which, along with his normal companions Howard Johnson on tuba, Dick Griffin on trombone, Ron Burton on piano, and Vernon Martin on bass, added Leroy Jenkins on violin, Alvern Bunn on conga, Sonelius Smith on celeste and piano, and Joe Texidor on various sound objects to the mix -- once more indulge his obsession with creating modern day "black classical music." Recorded on one night -- Christmas Eve 1969, two days before Johnny Hodges died -- this is one of the weirdest records Kirk ever recorded, but it certainly has merit. Beginning with a 17-minute conceptual suite called "The Seeker," this was classical music Kirk style. The fact that his music here careens from vanguard atonalities to deep swinging blues grooves and wide-ranging color orchestrations worthy of Ellington is part of the Kirk paradox: If you hate it, wait a second -- it'll change. Other tracks here include a steamy "Satin Doll," a bluesy, mood-driven "Sweet Fire," and an almost obscene "Baby Let Me Shake Your Tree," all played with a host of horns in Kirk's mouth, all playing either ostinato or soloing at the same time, splitting the lobes as he called it, and all of them directing a very tight, wildly celebratory band. Rahsaan was the king of the riff -- he could use it until it bit you -- and once it did he was off and running someplace else, down on the hard-swinging outer spaceways of his mind and heart.
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Roland Kirk - 1971 - Natural Black Inventions: Root Strata
Rashaan Roland Kirk
1971
Natural Black Inventions: Root Strata
![R-12335246-1533157363-7227.jpeg.jpg]()
01. Something For Trane That Trane Could Have Said 3:05
02. Island Cry 3:52
03. Runnin' From The Trash 2:12
04. Day Dream 3:40
05. The Ragman And The Junkman Ran From The Businessman They Laughed And He Cried 3:02
06. Breath-A-Tron 1:55
07. Rahsaanica 3:40
08. Raped Voices 1:54
09. H8aunted Feelings 2:25
10. Prelude Back Home 3:44
11. Dance Of The Lobes 2:05
12. Harder & Harder Spiritual 2:32
13. Black Root 3:17
Recorded Jan. 26 & Feb. 4, 1971 at Regent Sound Studios, New York City
Clarinet, Flute, Pipe, Harmonium, Piccolo Flute, Bass Drum, Cymbal, Bells, Timpani, Gong, Tenor Saxophone, Liner Notes – Rahsaan Roland Kirk
Congas – Maurice McKinley
Piano – Sonelius Smith
Washboard, Triangle, Tambourine – Joe Habad Texidor
1971
Natural Black Inventions: Root Strata
02. Island Cry 3:52
03. Runnin' From The Trash 2:12
04. Day Dream 3:40
05. The Ragman And The Junkman Ran From The Businessman They Laughed And He Cried 3:02
06. Breath-A-Tron 1:55
07. Rahsaanica 3:40
08. Raped Voices 1:54
09. H8aunted Feelings 2:25
10. Prelude Back Home 3:44
11. Dance Of The Lobes 2:05
12. Harder & Harder Spiritual 2:32
13. Black Root 3:17
Recorded Jan. 26 & Feb. 4, 1971 at Regent Sound Studios, New York City
Clarinet, Flute, Pipe, Harmonium, Piccolo Flute, Bass Drum, Cymbal, Bells, Timpani, Gong, Tenor Saxophone, Liner Notes – Rahsaan Roland Kirk
Congas – Maurice McKinley
Piano – Sonelius Smith
Washboard, Triangle, Tambourine – Joe Habad Texidor
Other than a couple of percussionists (and piano accompaniment on "Day Dream" by Sonelius Smith), all of the music on this rather unusual solo LP was created by Rahsaan Roland Kirk without overdubs or edits. He plays tenor, stritch, manzello, clarinets, flutes, black mystery pipes, percussion, and adds various sound effects, often two or three instruments simultaneously. The performances are episodic and colorful with plenty of humor and adventurous moments, worthy of repeated listenings and amazement.
Here's another one-of-a-kind jazz record for ya. But let's put "jazz" in quotes here because this collection of superhuman demonstrations of virtuoso technique disguised as impressionistic tone poems recorded live in the studio by a ONE MAN BAND has a sound too unique to fit into a simple one-word genre description.
Short Bio: Roland Kirk was not born blind, but lost his sight at an early age due to a nurse's mistake. But he grew up to be a musical prodigy of great musical vision, releasing his first album at the tender age of 21. He had a dream where he was playing two horns at once, so he learned how to do it! Later he mastered playing three at once -- saxes, clarinets, flutes, gizmos he made up called the "stritch" & "manzello", nose flute, whatever (and if you're wondering where the Rahsaan came from -- that was a dream too.)
He did a stint in Mingus' band in the early 60's. He recorded a pair of masterpiece jazz LP's in 1967, the forward-thinking "Rip Rig & Panic" and the more traditional yet still totally jet-age "The Inflated Tear." By the end of the 60's and into the 70's his reputation was made, but as "they" say he became more erratic -- in other words he did anything and everything he felt like, playing with everyone from string quartets to electric fusion groups, doing material ranging from out-there challenging to top pop hits of the moment. He suffered a series of strokes starting in 1975, kept touring even after he became paralyzed on the right side of his body(!), and eventually shuffled off in 1977. Allegedly the worst-selling record of his career was 1971's "Natural Black Inventions: Root Strata" which is without a doubt RRK's most singular work.
I could do a rundown of what he's doing on each track of this album, which is fascinating in and of itself -- he's always playing between two and five instruments simultanesously (no overdubs bub), about half of the tracks with no other musicians at all. He "splits the lobes" and plays two interweaving solos at the same time on two horns, left brain controlling right hand and vice versa. He's also mastered circular breathing, so he can play 3 minutes without pausing for breath, no problem.* And while he's doing all that, his foot is keeping the beat on bass drum or "sock cymbal", with the occasional gong punctuations etc. etc.! There's only one word to describe his technical abilities, and that's "SUPERHUMAN." He had more musical ability in his pinky toe than most small principalities.
But you shouldn't need to know all that to appreciate the music, and RR Kirk is a prolific mutha and I've yet to come across an album by him that's less than "pretty damn great" so you can bet when he does something extreme like this it's worth a listen! Most of these tracks are hardly songs, they're more like moods and textures -- the interplay between the "musicians" (Rah's various limbs in other words!) is uncanny, like a bunch of small furry critters grooving in a cave to a mind control machine. Some parts are tranquil & beautiful, others unsettling or freakadelic, there are references to Duke and Trane and Mingus and Fats and "acid rock" and even a chorus of "Hava Nagila"!
The overall mood of the record is best described as "magical" -- this is the ultimate example of an artist giving listeners a glimpse into their inner sound-world.
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Roland Kirk - 1972 - Blacknuss
Rashaan Roland Kirk
1972
Blacknuss
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01. Ain't No Sunshine 2:26
02. What's Goin' On / Mercy Mercy Me (The Ecology) 3:46
03. Take Me Girl, I'm Ready 2:48
04. I Love You Yes I Do 3:19
05. My Girl 3:06
06. Which Way Is It Going 2:24
07. One Nation 3:40
08. Never Can Say Goodbye 4:00
09. Old Rugged Cross 7:14
10. Make It With You 4:50
11. Blacknuss 5:13
Bass – Henry Pearson (tracks: A1, B1, B4), Bill Salter (tracks: A2 to A7, B2, B3)
Congas – Richard Landrum (tracks: A1, B1, B4)
Congas, Cabasa [Cabassa] – Arthur Jenkins (tracks: A2 to A7, B2, B3)
Drums – Bernard Purdie (tracks: A2 to A7, B2, B3), Khalil Mhdri (tracks: A1, B1, B4)
Flute, Tenor Saxophone, Whistle [Police Whistle], Gong, Saxophone [Manzello, Stritch], Arranged By – Rahsaan Roland Kirk
Guitar – Billy Butler (tracks: A1, B1, B4), Cornell Dupree (tracks: A2 to A7, B2, B3), Keith Loving (tracks: A2 to A7, B2, B3)
Organ – Mickey Turner (tracks: A2 to A7, B2, B3)
Percussion – Joe Habad Texidor
Piano – Richard Tee (tracks: A2 to A7, B2, B3), Sonelius Smith (tracks: A1, B1, B4)
Trombone – Dick Griffin (tracks: A2 to A7, B2, B3)
Trumpet – Charles McGhee (tracks: A2 to A7, B2, B3)
Vocals – Rahsaan Roland Kirk (tracks: A1, A5, B1, B4)
1972
Blacknuss
02. What's Goin' On / Mercy Mercy Me (The Ecology) 3:46
03. Take Me Girl, I'm Ready 2:48
04. I Love You Yes I Do 3:19
05. My Girl 3:06
06. Which Way Is It Going 2:24
07. One Nation 3:40
08. Never Can Say Goodbye 4:00
09. Old Rugged Cross 7:14
10. Make It With You 4:50
11. Blacknuss 5:13
Bass – Henry Pearson (tracks: A1, B1, B4), Bill Salter (tracks: A2 to A7, B2, B3)
Congas – Richard Landrum (tracks: A1, B1, B4)
Congas, Cabasa [Cabassa] – Arthur Jenkins (tracks: A2 to A7, B2, B3)
Drums – Bernard Purdie (tracks: A2 to A7, B2, B3), Khalil Mhdri (tracks: A1, B1, B4)
Flute, Tenor Saxophone, Whistle [Police Whistle], Gong, Saxophone [Manzello, Stritch], Arranged By – Rahsaan Roland Kirk
Guitar – Billy Butler (tracks: A1, B1, B4), Cornell Dupree (tracks: A2 to A7, B2, B3), Keith Loving (tracks: A2 to A7, B2, B3)
Organ – Mickey Turner (tracks: A2 to A7, B2, B3)
Percussion – Joe Habad Texidor
Piano – Richard Tee (tracks: A2 to A7, B2, B3), Sonelius Smith (tracks: A1, B1, B4)
Trombone – Dick Griffin (tracks: A2 to A7, B2, B3)
Trumpet – Charles McGhee (tracks: A2 to A7, B2, B3)
Vocals – Rahsaan Roland Kirk (tracks: A1, A5, B1, B4)
From its opening bars, with Bill Salter's bass and Rahsaan's flute passionately playing Bill Withers' "Ain't No Sunshine," you know this isn't an ordinary Kirk album (were any of them?). As the string section, electric piano, percussion, and Cornel Dupree's guitar slip in the back door, one can feel the deep soul groove Kirk is bringing to the jazz fore here. As the tune fades just two and a half minutes later, the scream of Kirk's tenor comes wailing through the intro of Marvin Gaye's "What's Goin' On," with a funk backdrop and no wink in the corner -- he's serious. With Richard Tee's drums kicking it, the strings developing into a wall of tension in the backing mix, and Charles McGhee's trumpet hurling the long line back at Kirk, all bets are off -- especially when they medley the mother into "Mercy Mercy Me." By the time they reach the end of the Isleys' "I Love You, Yes I Do," with the whistles, gongs, shouting, soul crooning, deep groove hustling, and greasy funk dripping from every sweet-assed note, the record could be over because the world has already turned over and surrendered -- and the album is only ten minutes old! Blacknuss, like The Inflated Tear, Volunteered Slavery, Rip, Rig and Panic, and I Talk to the Spirits, is Kirk at his most visionary. He took the pop out of pop and made it Great Black Music. He took the jazz world down a peg to make it feel its roots in the people's music, and consequently made great jazz from pop tunes in the same way his forbears did with Broadway show tunes. While the entire album shines like a big black sun, the other standouts include a deeply moving read of "My Girl" and a version of "The Old Rugged Cross" that takes it back forever from those white fundamentalists who took all the blood and sweat from its grain and replaced them with cheap tin and collection plates. On Kirk's version, grace doesn't come cheap, though you can certainly be a poor person to receive it. Ladies and gents, Blacknuss is as deep as a soul record can be and as hot as a jazz record has any right to call itself. A work of sheer blacknuss!
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Roland Kirk & Al Hibbler - 1972 - A Meeting Of The Times
Rahsaan Roland Kirk & Al Hibbler
1972
A Meeting Of The Times
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01. Do Nothing Till You Hear From Me 4:38
02. Daybreak 3:12
03. Lover Come Back To Me 3:48
04. Don't Get Around Much Anymore 2:53
05. This Love Of Mine 4:55
06. Carney And Begard Place 5:34
07. I Didn't Know About You 4:01
08. Something 'Bout Believing 6:05
09. Dream 2:30
Recorded at Atlantic Studios, NY on March 14 (track 9), March 30 (tracks 2-4 & 8) & March 31 (tracks 1 & 5-7), 1965
Rahsaan Roland Kirk: tenor saxophone, manzello, stritch, flute, clarinet, baritone saxophone
Al Hibbler: vocals (tracks 1-5, 7 & 8)
Hank Jones: piano (tracks 1-8)
Ron Carter: bass (tracks 1-8)
Grady Tate: drums (tracks 1-8)
Leon Thomas: vocals (track 9)
Lonnie Liston Smith: piano (track 9)
Major Holley: bass (track 9)
Charles Crosby: drums (track 9)
1972
A Meeting Of The Times
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02. Daybreak 3:12
03. Lover Come Back To Me 3:48
04. Don't Get Around Much Anymore 2:53
05. This Love Of Mine 4:55
06. Carney And Begard Place 5:34
07. I Didn't Know About You 4:01
08. Something 'Bout Believing 6:05
09. Dream 2:30
Recorded at Atlantic Studios, NY on March 14 (track 9), March 30 (tracks 2-4 & 8) & March 31 (tracks 1 & 5-7), 1965
Rahsaan Roland Kirk: tenor saxophone, manzello, stritch, flute, clarinet, baritone saxophone
Al Hibbler: vocals (tracks 1-5, 7 & 8)
Hank Jones: piano (tracks 1-8)
Ron Carter: bass (tracks 1-8)
Grady Tate: drums (tracks 1-8)
Leon Thomas: vocals (track 9)
Lonnie Liston Smith: piano (track 9)
Major Holley: bass (track 9)
Charles Crosby: drums (track 9)
On first glance this LP combines together a pair of unlikely musical partners; the unique multi-instrumentalist Rahsaan Roland Kirk and Duke Ellington's former ballad singer Al Hibbler. However Rahsaan was very well acquainted with Ellington's music and he plays respectfully behind Hibbler on many of the standards, taking the wild "Carney and Bigard Place" as an instrumental. Hibbler (who did not record much this late in his career) is in good voice and phrases as eccentrically as ever on such songs as "Do Nothin' Till You Hear from Me," "Don't Get Around Much Anymore" and "I Didn't Know About You." One leftover selection from Rahsaan's session with singer Leon Thomas ("Dream") rounds out this surprising set.
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