Rahsaan Roland Kirk - Rip, Rig & Panic/Now Please Don't You Cry, Beautiful Edith

Roland Kirk was a sublime one-man musical circus, whether playing three reeds at once, overblowing a flute, blasting a whistle to end a solo, or simply playing tenor saxophone with as much passion and invention as almost any other musician in jazz. This CD combines two complete Kirk LPs, Rip, Rig and Panic from 1965 and Now Please Don't You Cry, Beautiful Edith from 1967. The former is justifiably one of Kirk's most famous records, and it has possibly the most incendiary backing group he ever recorded with--secure, inventive, and prodding. Fueled by Jaki Byard's contrapuntal comping and flights into stride and atonality, Richard Davis's edge-of-the-beat bass lines, and Elvin Jones's polyrhythmic drumming, Kirk responds aggressively. His tenor improvisations on "No Tonic Pres" and "From Byas, Bechet, and Fats" are volcanic, while his manzello (a single reed in the soprano saxophone range) is piquantly lyrical on "Black Diamonds." Always an innovator, Kirk adds electronically altered sounds to "Slippery, Hippery, Flippery" and shattering glass to the brilliant title piece. The later session is relatively subdued but still distinguished, with a more conventional rhythm section in pianist Lonnie Liston Smith, bassist Ronnie Boykins, and drummer Grady Tate. "Blue Rol" has Kirk paying glorious tribute to the Ellington reed section, playing three horns at once before using circular breathing on manzello and then turning in a tenor solo worthy of an Ellingtonian like Ben Webster or Harold Ashby. "Why Don't They Know" is percolating bossa nova, while the title tune is a beautiful ballad. This is essential Kirk, and also a perfect introduction to his work. --Stuart Broomer Amazon.com

My head hasn't exploded...yet...

First of all, let me say that this is one of the most impressive feats of jazz music composing and performing I have ever heard. I was told by many sources that Rahsaan Roland Kirk was some kind of genius whose music simply could not be ignored. This CD, which combines two albums' worth of songs, promised to be a good introduction to Kirk and his music. I was not disappointed. Kirk's musicianship is unsurpassed. His experiments with electronic effects and unorthodox recording methods, like the screaming and white noise used in the title track, actually sound like they belong and there is no resistance to their effect. In fact, it makes the music vaguely more satisfying. Very few people have succeeded in mixing such effects into jazz so that it improves the music, though many have tried and failed. Kirk's ability to play several instruments, occasionally at the same time, also gives him a leg up on the competition. Just the same, when Kirk feels like playing straight up jazz, he does it with the best. His versions of Black Diamond and Alfie are just sensational. I tried to envision the music the way Kirk did, but I couldn't get my head around his ideas. I mean, when does the sound of a glass breaking fit into a musical piece? Kirk knows, the listener doesn't, and when the listener hears it, he or she will know it sounded good but won't be able to understand why. When I started to think about it, that's when I felt my head was going to pop, so I just sat back and listened. My fear that this recording was going to drive me back down into the hell of avant-garde, free jazz crap, did not come to pass. This is highly listenable, highly enjoyable, and a constant source of surprise and amazement. I'm looking forward to adding more of Kirk's works to my music collection soon.
January 2, 2009

An Ideal Port Of Entry Into Rahsaanapolis

This CD combines two of Roland Kirk's most celebrated albums, one volcanic, the other luscious. Rip, Rig and Panic is renowned because of the astounding line-up, Jaki Byard on piano, Richard Davis on bass, and the redoubtable Elvin Jones kickin' skins. (Jones has never sounded better.) The other, Now Please Don't You Cry, Beautiful Edith, sounds like lounge jazz by comparison. The lineup is strong, but simply not in the same league as Rip, Rig and Panic. Still, the album contains some of Rahsaan's most appealing work, including the title track. In this respect it provides listeners, especially, newcomers, a good overview of the diverse landscapes of Rahsaanapolis.

This said, it would require a truck equipped with extra heavy-duty suspension to deliver the box set providing a comprehensive tour of Rahsaanapolis. Kirk was a man of profound contradictions, relentless experimentation, and an unquenchable appetite for music. He has been largely overlooked by jazz historians (to say nothing of the public!) and unfairly tagged as a novelty act because of his propensity for playing multiple horns simultaneously and actually making his own reed instruments out of bits and pieces of other reed instruments. Rock producer Billy Graham once said of Kirk, "He wasn't just angry, he was Nina Simone angry." True, and yet he was capable of playing music so fragile and beautiful it might reduce a serial killer to tears - check out I Talk With The Spirits.

One of Kirk's many contradictions was that, despite his intense need to push music into uncharted territory - frequently in several directions at once - listening to him was always a Master's Class in music history. No jazz musician has ever been so aware of his roots, or anxious to share them with you. Who else could take you from Sidney Bechet, Don Byas, and Fats Waller all the way to Burt Bacharach and Hal David - and have the trip make sense? At one point in the breathtaking album Rahsaan Rahsaan, Kirk says, "Thank you, Bird" in such a casual, comfortable tone of voice it's as though Charlie Parker had just left the room. In a sense, that's exactly what did happen, because the musicians Kirk studied came alive in his music, in his respect for them and in his confidence as he interpreted them and developed their ideas.

It's tempting to point out that Kirk was blind, and perhaps, like others before him, his stunning ear was partly attributable to this. But for Kirk, a heightened ability to listen was only the starting point. Kirk played everything he touched, and he played with unparalleled intensity. His flute playing was memorable, but his tenor sax work was simply off the map. Kirk belongs in the pantheon with Lester Young, Charlie Parker, Eric Dolphy, and John Coltrane - indeed, he's already there, it's just that the mainstream hasn't noticed yet. I'm not aware of any Rahsaan Roland Kirk CD that isn't worth the price of admission, but for veterans and first time visitors to Rahsaanapolis alike, this CD is especially select. May 27, 2007

What Happened?

In reviewing the music, I found that this is not the same Rip, Rig and Panic from 1982. I cannot find any recordings from then. Where is that music? February 6, 2005

Roland Kirk Rips.....Not To Mention Rig & Panic!

Because he played multiple instruments at the same time Roland Kirk sometimes got the rap that he was gimmicky. He was not gimmicky, he was unique. And if you want to discuss single instruments he was a master tenor saxophonist. "Rip, Rig and Panic" is one of the most unique and passionate recordings ever made. (A word of warning: it is not music for those who like their jazz playing quietly in the background.) Not only do you get Roland at his inventive best, you also get the always fascinating Jaki Byard on piano and the fiery rhythm section of Richard Davis and Elvin Jones. And the fact that you also get a second Roland Kirk recording, "Now Please Don't You Cry, Beautiful Edith," on this CD makes it a doubly appealing purchase for those who want some Kirk in their collections. While not in the same league as "Rip...," "...Edith" is a fine outing for Kirk, pianist Lonnie Liston Smith, bassist Ronald Boykins, and drummer Grady Tate. I once had the pleasure of hearing Roland play in person. He ripped as he does on "Rip, Rig and Panic." August 22, 2004

Only 3 People Reviewed This, LOL!

It is kind of amazing how underatted Roland Kirk still is today. Seriously some of this stuff is a catchy as many of Miles Davis and John Coltrane's most famous works. It is truly silly, you cannot find this is any store (even borders or barnes and noble) and can only find this online. And he is backed by Elvin Jones. Sheesh are they rough on Roland or what. Someday we need to stick it to the "man" and Roland needs praise,! April 6, 2004

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