Benny Green - Soul Stirrin'

One of the more unique recordings in the Blue Note 1500 series, trombonist Bennie Green oversees a cool mix of swing, blues and mambo arrangements, including vocal contributions by the leader himself and the great Babs Gonzales. With his bone tone still rooted in the swing era, Green was starting to take notice and become influenced by the emergence of soul and rhythm and blues. Case in point; inviting Gene Ammons to sit in on tenor. Adding Billy Root as a second tenor creates a front line like no other while the legendary Sonny Clark handles the piano. Ike Isaac’s bass and the brute-drumming of Elvin Jones round out the sextet. Highlights include a forceful “We Wanna’ Cook”, plus heartbreaking takes of the ballads “That’s All” and “Lullaby Of The Doomed”.


Benny Green - Trombone, Vocals
Babs Gonzales - Vocals
Gene Ammons - Tenor
Billy Root - Tenor
Sonny Clark - Piano
Ike Isaac - Bass
Elvin Jones - Drums


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Rahsaan Roland Kirk - Volunteered Slavery

Recorded at Regent Sound Studios, New York, New York in 1969 and The Newport Jazz Festival, Newport, Rhode Island on July 7, 1968. Originally released on Atlantic (1534).

One of Roland Kirk's very best albums, 1969's VOLUNTEERED SLAVERY is a half-studio, half-live smorgasbord that comes closer than possibly any of his dozens of other releases to capturing all of his many musical sides. Opening with the classic call-and-response soul jazz title track, side one features two brilliant pop covers, Stevie Wonder's "Ma Cherie Amour" and a scorching reinterpretation of Bacharach-David's "I Say a Little Prayer," reworked into a eulogy for the recently slain Bobby Kennedy. Between those two comes the brief but stirring "Search for the Reason Why," a gospel-tinged hippiesque singalong that in lesser hands might sound drippy. Side two, recorded at 1968's Newport Jazz Festival, is built around the brilliant "Tribute to John Coltrane," a three-song medley that pays tribute without imitation, and the legendary "Three for the Festival," Kirk's wild yet controlled solo played simultaneously on three different reed instruments. This is a jazz classic.
Entertainment Reviews:

Rolling Stone - 3/7/70, p.48
"...[ROLAND KIRK] is one of the absolute best jazz musicians in the world, as good as the best on all the axes he plays....[he's] got an amazing sense of humor in everything he does..."


Roland Kirk - Saxophone [Tenor], Horns [Stritch, Manzello], Flute, Flute [Nose], Gong, Whistle, Vocals
Roland Kirk Spirit Choir - Vocals
Vernon Martin - Bass
Charles Crosby , Jimmy Hopps , Sonny Brown - Drums
Ron Burton - Piano
Dick Griffin - Trombone
Charles McGhee - Trumpet

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Rahsaan Roland Kirk - We Free Kings

Only his third session as a leader, 1961's WE FREE KINGS finds multi-instrumentalist Roland Kirk (he added the Rahsaan in 1969) transplanted to New York from his native Midwest and signed to Mercury Records, where he'd remain for the next seven years. With this classic album, Kirk shook off detractors who dismissed him as a novelty (for his revival of the vaudeville trick of playing up to three reeds at once) and established himself as a paragon of modern jazz.

Beginning with a typically idiosyncratic reworking of Coltrane's "Blues for Alice," Kirk only occasionally steps into the free jazz style implied by the album's title, notably on the first recorded version of his legendary multi-horn showcase "Three for the Festival." Recorded in two different no-nonsense trio settings, WE FREE KINGS showcases Kirk's astonishingly varied brilliance in a suitably stripped-down context.


* Roland Kirk — saxophone, flute, vocals
* Richard Wyands — piano (3-5, 9)
* Art Davis — bass (3-5, 9)
* Charlie Persip — drums (3-5, 9)
* Hank Jones — piano (1-2, 6-8)
* Wendell Marshall — bass (1-2, 6-8)


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