New York, NY - Multi instrumentalist, raconteur, jazz preacher, hipster sage, sightless seeker and American music legend - words only scratch the surface in describing the sheer force of soul and spirit that was Rahsaan Roland Kirk. Having passed away in 1977, the music he left behind continues to speak 25 years later. Like so many great artists of the 20th century, his legacy grows in stature as his music is discovered by new generations. And as if on cue, every few years the opportunity seems to arise for previously unheard Rahsaan recordings to be shared with the world. The latest discovery is a club recording from November 5, 1974 at The Backdoor in San Diego, California. To be released April 22nd on Hyena Records, Compliments of the Mysterious Phantom is Rahsaan in full force; seemingly a whirlwind of musical ideas hitting town simultaneously. He effortlessly trades off between tenor saxophone, flute, whistle, conch shell, stritch and manzello, all the while enlightening the audience with gems of cosmic philosophy, utter absurdity and absolute truth.
Having just finished a week long engagement at San Francisco's legendary Keystone Korner, The Backdoor was Rahsaan's last U.S. date before heading overseas for a string of concerts in Australia and New Zealand. Opening the set with the McCoy Tyner piece, “Passion Dance," Kirk unleashes a blast of frantic energy. On top of a hyper-paced rhythm, he delivers a raging tenor saxophone diatribe; slashing phrases, squealing notes and boldly signaling his arrival to the bandstand. Late period John Coltrane comes to mind; ironically this was a Tyner composition that Coltrane never actually performed.
Without pause, Kirk's quintet eases into a gorgeous version of “My One and Only Love." The dichotomy between the set opener and this piece is startling-from near fury to the delicate and romantic. Although infamous for pushing the musical madness to frenzied heights, Rahsaan had a master's touch on tenor saxophone, interpreting ballads in the tradition of the greats such as Coleman Hawkins and Lester Young and contemporaries like John Coltrane and Sonny Rollins.
“Bright Moments, let Bright Moments filter the auditorium, Bright Moments, glad to see you people here, and I'm sure you're glad to see us 'cause we bring you miraclized music," Rahsaan exultantly greets The Backdoor's audience. The opening two numbers prove to be the most stylistically diverse of the evening. From here on out, Rahsaan and The Vibration Society explore a heady, rhythmically raunchy, funk vibe, turning the small San Diego club into an old time religion tent revival.
“Fly Town Nose Blues" bounces to an elastic, flyaway groove provided by Henry “Metathius" Pearson on bass, John Goldsmith on drums and Samuel Verge on percussion, while pianist Hilton Ruiz further abstracts the picture with jagged, aggressive piano. Rahsaan enters on nose flute, smooth and steady on the melody, before cutting loose with a patented talking flute breakdown that's pure magic. The energy doesn't give for a split second before Rahsaan nails the opening tenor line to his classic “Volunteered Slavery" - his band shouts “party" in unison as if to make clear their intentions. “Somebody help me cross the bridge," demands Rahsaan and the audience responds in kind. By the time, Rahsaan's quintet hits the “Hey Jude" refrain, they're a barreling freight train slamming down the line.
Excerpts follow from Kirk standards “Bright Moments" and “Old Rugged Cross." On the former, Kirk is featured during a breathtaking flute jam that's a testament to his unrivaled singularity on the instrument. On the latter, Kirk takes the audience back to his roots on the R&B circuit, dropping a soulful gutbucket tenor vamp. It's the kind of performance that's led to him being described as one of the most exciting soloists in jazz history. He leaves the stage to thundering applause; the audience stomps its feet, claps its hands and shouts “we want more." Kirk obliges.
B-L-A-C-K-N-U-S-S is the refrain, and Rahsaan urges the crowd to join him. Written on the 36 black notes of the piano, the song is straight up stank. As the groove ignites, Kirk salutes among other things, “good fried chicken" “sweet potato pie" “John Coltrane" “Roberta Flack" and “Muhammad Ali" before breaking into a Richie Havens-inspired “Freedom" scat. The club roars, the energy emanating between the band and audience is intoxicating. A steady four backbeat begins and Rah sends the people home with his '70s Soul Power anthem, “Freaks For The Festival."
This past December marked the 25th Anniversary of Rahsaan Roland Kirk's death. Despite critic's condemnation of Kirk during his lifetime as “a circus act," the last 10 years have brought a long overdue reevaluation of his work. A broad spectrum of contemporary artists, including Sonic Youth, Charlie Hunter, The Bad Livers, Chris Robinson (New Earth Mud), Steve Bernstein (Sex Mob), Derek Trucks, Beastie Boys, Morphine, Skip Heller, Karl Denson, A Tribe Called Quest and Bjork have hailed him an inspiration, while today's jazz critics rightfully acknowledge his place in the lexicon of jazz giants. Declared “The Rahsaanaissance" by Kirk's loyal fans, an ongoing rediscovery of his music will continue to occur with Compliments of the Mysterious Phantom. At the peek of his “Rahsaaness," it documents the towering spirit, pure vision and transcendent music that was and remains Rahsaan Roland Kirk.
Also upcoming from HYENA: Aaron Neville (Orchid In The Storm), Great “Live" Jazz (Various Artists), James Blood Ulmer (Memphis Blood: The Sun Sessions) and King Sunny Ade (Synchro Series)
For more information contact All About Jazz.
