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F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
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a r t i s t roland kirk
a l b u m introducing roland kirk
l a b e l Chess
g e n r e jazz
r i p d a t e 20-11-2004
s t r e e t d a t e 07-06-1960
o r i g i n a l r e l 1960
s u p p l i e r m00g
s o u r c e cd
b i t r a t e VBR
e n c o d e r lame 3.90.3
r e l e a s e n o t e s
Although the title suggests otherwise, Introducing Roland Kirk is
actually Kirk's second long player. Poor distribution kept his debut,
Triple Threat, from receiving the attention it deserved until
subsequent reissues of the album in the early '70s. On these sides,
Kirk is accompanied by a quartet including: Ira Sullivan
(trumpet/tenor sax), William Burton (keyboards), Don Garrett (bass),
and Sonny Brown (drums). Kirk leads the ensemble with his "triple
threat" -- consisting of a variation of the soprano sax called a
manzello; a stritch, which is a variant of the straight alto
saxophone; and a slightly modified tenor sax -- all of which he could
maneuver simultaneously. Although Kirk's performances are exceedingly
reserved on this album, there is little doubt of his technical
proficiencies. The three sides penned by Kirk are among the most
interesting as they allow for a certain degree of openness that is
essential when spotlighting his unique talents. This autonomy yields
some exceptional interplay between Kirk and Ira Sullivan --
highlighted on "The Call" and "Soul Station." One of the motifs
evident throughout Kirk's career involved his ability to personalize
pop standards into his very distinctive mold as "Our Love Is Here to
Stay" aptly exemplifies. Although some free jazz and avant-garde
purists may find Introducing Roland Kirk not challenging enough, it
provides a solid basis for his increasingly bombastic post-bop
experiments throughout the remainder of the '60s and '70s.
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
the call 08:46
soul station 05:30
our waltz 04:54
our love is here to stay 04:51
spirit girl 05:24
jack the ripper 07:52
37:17
MB 55,6
g r o u p n e w s
From now on, we rip everything in VBR, using --alt-preset standard.
h e l p f u f f e n s
We are looking for quality sites in Europe and US, to be afilliated
on. Remember, we are not in it for the creds, but for the spreading
of quality music - we just want to get our releases out to the ppl
that wants/needs it. More pre sites fills this purpose.
g r e e t s
BCC CMS CMG diss DPS HiT2000 IGR JUST kw miso NuHS om sb SER sfE smc
s p e c i a l g r e e t s t o : SChiZO and FRAGMENT
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i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c
h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b
u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o
t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t
i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y
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a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e
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