Keno Duke Contemporaries - Crest of the Wave

Another repost by request...

Keno Duke Contemporaries - Crest of the Wave
Trident (3) – TRS 501 1975

A1 Crest Of The Wave 6:39
    Written-By – K. Duke*
A2 Some Other Time 4:40    
    Written-By – F. Strozier*
A3 Little "D" 5:15
    Written-By – K. Duke*
B1 My Father Knows 5:48
    Written-By – K. Duke*
B2 Uschi I 7:02
    Written-By – K. Duke*
B3 Chateau 12 4:21
    Written-By – K. Duke*

    Alto Saxophone, Flute – Frank Strozier
    Bass – Lisle Atkinson
    Drums – Keno Duke
    Flute – Frank Strozier
    Piano – Harold Mabern
    Tenor Saxophone – George Coleman

Oddly the final album of this marvelous band is the least exciting of the three. That is not to infer that it by any means bad, it is just that the bar was set awfully high by the first two albums. Even on their worst day these guys were not capable of bad. Listening to the record now I am loving it, just not as much as the other two. This scary perfect rip comes from our pal Wid.

Saori Yano - Best (2007) [CD + DVD]

Here we have a wonderful compilation drawn from Saori's albums pre-dating 2007. The CD is made up of thirteen choice tracks, and included is I &I, not released on her studio albums, but from an advertising promotion that brought her further fame. Incorporated in the fantastic package is a DVD that showcases video frontage of that commercial, as well as four other promotional videos. These clips give the Saori fan an insight as to the formidable company she was associated with throughout those classic early years. Looking back, she hung out with an assemblage of great jazz musicians during her recording tenure in New York City. The reader can easily see from personnel listed that she gave and was given great respect when performing. In this regard, it is important to note that she is not just a player, but also a fine composer and to this extent within this selection are five of her own tunes. Listeners can only marvel this brilliant jazz musician on the job at such an early age, enjoy! 

Savoy Records, COZY 263 + COZY 264, 2007 

Yano Saori (2003)
#5,10
02 (2004)
#2,4,11,13
Sakura Stamp (2005)
#1,3,12
Groovin' High (2006)
#6,8,9
DVD "ASIENCE" TV-CF
#7 

Musicians:
Saori Yano - Alto Saxophone
Nicholas Payton - Trumpet (#1,3,12)
Randy Brecker - Trumpet (#6,8,9)
Slide Hampton - Trombone (#6,8,9)
Eric Alexander - Tenor Saxophone (#1,3,4,12)
Jimmy Heath - Tenor Saxophone (#6,8,9)
James Moody - Tenor Saxophone, Flute (#6,8,9)
Gary Smulyan - Baritone Saxophone (#6,8,9)
Masaaki Imaizumi - Piano (#5,6,8,9,10)
Harold Mabern - Piano (#2,4,11,13)
Mike LeDonne - Organ (#1,3,12)
Peter Bernstein - Guitar (#1-3,11-13)
Shin Kamimura - Bass (#5,10)
Nat Reeves - Bass (#2,4,11,13)
Ray Drummond - Bass (#6,8,9)
Masahiko Osaka - Drums (#5,10)
Joe Farnsworth - Drums (#1-4,11-13)
Adam Nussbaum - Drums (#6,8,9)

Tracks:
01. Donna Lee {Charlie Parker} (1:55)
02. Sand And Skirt {Saori Yano} (6:56)
03. Crazy He Calls Me {Bob Russell, Carl Sigmon} (7:56)
04. RIZLLA {Saori Yano} (5:32)
05. In A Sentimental Mood {Duke Ellington} (6:51)
06. Manteca {Dizzy Gillespie} (6:55)
07. I & I {Saori Yano} (3:58)
08. Greenism {Saori Yano} (4:44)
09. My Ideal {Newell Chase, Richard A. Whiting} (6:10)
10. How To Make A Pearl {Saori Yano} (4:14)
11. Lover Man {Roger Ram Ramirez, Jimmy Davis} (6:13)
12. Tico Tico {Zequinha Abreu} (5:31)
13. Open Mind {Takashi Matsunaga} (4:37) 

Total Time: 71:38 

DVD:
1. I & I {Saori Yano} (Movie)
2. Greenism {Saori Yano} (PV)
3. I Got Rhythm {George Gershwin} (PV)
4. RIZILLA {Saori Yano} (Movie)
5. How To Make A Pearl {Saori Yano} (PV) 

Crazy He Calls Me

Bill Mobley Jazz Orchestra - Live At Small's Vols. 1 & 2 (1996)

The difficulties of keeping a big band together are enormous, but trumpeter/flügelhornist Bill Mobley's efforts in the York City area pay off immensely, as documented in the first of two CDs recorded in 1996 at Small's. With some of the finest musicians based in the city (including Jon Gordon, Bill Easley, Greg Gisbert, and Tony Reedus, to name but a few) and several notable guests, this is a band that musicians will especially appreciate. Mobley's arrangement of pianist Mulgrew Miller's "Farewell to Dogma" is a masterpiece, never falling into predictability, and the solos by its composer and soprano saxophonist Billy Pierce add to the freshness of this performance. The leader's "49th Street" is a snappy reworking of the chord changes to "Lover," while his rich flügelhorn and Donald Brown's intense piano solo are the focus of Mobley's "Judgement Day." Other memorable charts, by Brown, Harold Mabern, and James Williams (all special guests on the two dates heard on this CD), are every bit as potent as Mobley's writing. This release is easily one of the most enjoyable large jazz ensemble recordings from the final decade of the 20th century, and post-bop fans should snap up this French release (and its companion second volume) without further ado. ~ by Ken Dryden, AMG. 

Space Time Records, BG 9805, 1997
Space Time Records, BG 9809, 1998
Recorded 17th & 18th September, 1996 Live at Smalls Jazz Club, Greenwich Village, NYC 

Musicians:
Bill Mobley - Trumpet, Flugelhorn, Leader
Andy Gravish, Craig Johnson, Greg Gisbert, Jim Rotondi - Trumpet
Pat Hallaran, Tim Sessions - Trombone
Mike Fahn - Trombone [Slide & Valve]
Tim Newman - Bass Trombone
Jay Brandford - Alto Saxophone, Flute
Jon Gordon - Alto Saxophone, Soprano Saxophone, Flute
Mike Lee - Tenor Saxophone
Bill Easley - Tenor Saxophone, Flute, Clarinet
Ray Franks - Baritone Saxophone, Bass Clarinet, Flute
Matthew Fries - Piano
Bill Moring - Bass
Tony Reedus - Drums 

Guests:
Donald Brown, Harold Mabern, James Williams, Mulgrew Miller - Piano
Billy Pierce - Tenor Saxophone, Soprano Saxophone
Miles Griffith - Vocals

CD1:
1. Farewell To Dogma {Mulgrew Miller, Arr. Bill Mobley} (9:49)
featuring Billy Pierce, Mulgrew Miller
2. 49th Street {Bill Mobley, Arr. Bill Mobley} (8:59)
featuring Bill Mobley, Billy Pierce, Jay Brandford
3. Song For My Mother {Donald Brown, Arr. J. Schneider} (8:50)
featuring Billy Pierce, Donald Brown
4. Black Scholars {James Williams, Arr. Geoff Keezer} (9:48)
featuring James Williams, Mike Fahn, Miles Griffith
5. Judgement Day {Bill Mobley, Arr. J. Schneider} (10:46)
featuring Bill Mobley, Donald Brown
6. Alex The Great {Harold Mabern, Arr. Bill Mobley} (10:42)
featuring Bill Easley, Harold Mabern, Jon Gordon

CD2:

1. Second Thoughts {Mulgrew Miller, Arr. Bill Mobley} (12:58)
featuring Jon Gordon, Mulgrew Miller
2. Sudan Blue {Billy Pierce, Arr. Bill Mobley} (8:08)
featuring Billy Pierce, Donald Brown, Pat Hallaran
3. Chuck's Groove {Billy Pierce, Arr. Bill Mobley} (6:40)
featuring Andy Gravish, Bill Mobley, Billy Pierce, Jim Rotondi
4. Lament {J.J. Johnson, Arr. Bill Mobley} (6:45)
featuring Bill Mobley
5. For My Nephews {James Williams, Arr. Greg Hopkins} (10:05)
featuring Bill Easley, James Williams, Miles Griffith
6. Affaire D'Amour {Donald Brown, Arr. Bill Mobley} (10:00)
featuring Donald Brown, Jon Gordon 

Total Time: 58:54 + 54:36 

Credits:
Producer - Bill Mobley, Ray Franks
Executive-Producer - Walter H. Squindo
Recording Engineer - David Baker
Mastering Engineer - Raphaël Jonin
Liner Notes - Loren Schoenberg 

N.B.
Excess applause, lead-ins & commentary have been carefully trimmed and faded out.

Yano Saori - Yano Saori (2003)

Nimble, Fresh And Neat
=====================
Saori Yano seems to be a genius girl and a very serious performer at the same time. While he is good at Charlie Parker's works, unlike Parker who seems to have been devastating, he might be close to Coltrane in character in a jazz-critic style. That means practicing seriously, honing your skills, and playing hard. Some people seem to be negative for Mr. Coltrane's playing posture, but why is it bad? Saori Yano tries to make every single sound. It is a serious and neat performance. Her staple “Confirmation”, which is now always requested for live performances, sounds neatly and neatly, while playing at a faster tempo than Mr. Parker's performance. There is lightness and freshness. A good performance that makes you want to listen again as many times as you like. Great. By the way, it makes me listen to a more thrilling and powerful incandescent performance in the live, but that's why the performance of this CD will never fade forever. It is a performance that makes me think so. ~ Amazon Customer, 5 Stars, Amazon.com. [Translated from Japanese] 

Savoy Records, COCB-53061, 2003
Recorded 23rd March, 2003 at Columbia Studio No.2 (#1,2,7)
Recorded 7th & 8th April, 2003 at Columbia Studio No.2 (#3-6,8-11) 

Musicians:
Saori Yano - Alto Saxophone
Keiji Matsushima - Trumpet (#5,7,9)
Harold Mabern - Piano (#1,2,7)
Masaaki Imaizumi - Piano (#3-6,8-11)
Nat Reeves - Bass (#1,2,7)
Shin Kamimura - Bass (#3-6,8-11)
Joe Farnsworth - Drums (#1,2,7)
Masahiko Osaka - Drums (#3-6,8-11) 

Tracks:
01. Confirmation {Charlie Parker} (4:51)
02. Blue Bossa {Kenny Dorham} (5:41)
03. When You're Smiling {Joe Goodwin, Larry Shay, Mark Fisher} (5:45)
04. How To Make A Pearl {Saori Yano} (4:12)
05. My Little Suede Shoes {Charlie Parker} (4:35)
06. Black Orpheus {Luiz Bonfá} (6:26)
07. Bohemia After Dark {Oscar Pettiford} (5:19)
08. Marmaduke {Charlie Parker} (3:24)
09. Hoyden {Saori Yano} (7:23)
10. In A Sentimental Mood {Duke Ellington} (6:48)
11. It Could Happen To You {Jimmy van Heusen, Johnny Burke} (3:57) 

Total Time: 58:21 

Bohemia After Dark

Saori Yano - 02 (2004)

Good Recording to Feel More Room
Saori Yano, here demonstrates the appeal of lightness and a neat performance, that cannot be said in the first album, but in this 02, I felt more room in this performance (there was no room in the first), but it creates more fun. When I look at the live performance, it seems to me that I'm always working hard, rather than enjoying the performance (although the sound is quite stretchy), but the CD recording is on the contrary, it feels like a relaxed performance. On this album, the talent of music making blossoms, and "sand and skirt" is a masterpiece. In the live, the ad lib is even clearer, and it has become an indispensable classic song. Of course, Parker and Baker's repertoire is also a unique and refreshing performance that is perfect for everyday jazz-fun. If you want a hot performance, please listen to the live. ~ Amazon Customer. [Translated from Japanese] 

Savoy Records, COCB-53231, 2004
Recorded 2nd & 3rd April, 2004 at Avatar Studio, New York 

Musicians:
Saori Yano - Alto Saxophone
Eric Alexander - Tenor Saxophone (#4,8)
Harold Mabern - Piano
Peter Bernstein - Guitar (#1,2,11)
Nat Reeves - Bass
Joe Farnsworth - Drums 

Tracks:
01. Laird Baird {Charlie Parker} (4:32)
02. Sand And Skirt {Saori Yano} (6:52)
03. Lover Man {Jimmy Davis, Ram Ramirez, Jimmy Sherman} (6:10)
04. RIZLLA {Saori Yano} (5:30)
05. The Days Of Wine And Roses {Henry Mancini, Johnny Mercer} (5:18)
06. Work Song {Nat Adderley, Oscar Brown Jr.} (4:42)
07. Zion {Saori Yano} (6:33)
08. Scrapple From The Apple {Charlie Parker} (5:12)
09. Everything Happens To Me {Matt Dennis, Tom Adair} (8:06)
10. Billie's Holiday {Saori Yano} (5:05)
Bonus Track
11. Open Mind {Takashi Matsunaga} (4:35) 

Total Time: 62:35 

Credits:
Producer - Hiroyuki Okano
Production Supervisor - Ken Komoguchi
Manager & Co-Producer - Haruki Naoi
Recording & Mixing Engineer - Dan Gellert
Assistant Engineer - Aya Takemura, Masumi Iwata
Mastering Engineer - Hiroyuki Hosaka
Illustration - Saori Yano
Art Direction - Ikkun Hagi
Design - Takanori Hirayama
Photography - Naoki Ishizaka
Liner Notes - Yozo Iwanami 

Sand And Skirt

Gene Ammons - The Black Cat! (1970) [re-rip>true flac]

One of Gene Ammons' best late-period albums, 1970's Black Cat is a bluesy, low-key album and a comparative anomaly: a primarily acoustic soul-jazz album! Ammons was experimenting heavily with the amplified, feedback-laced electric saxophone during this period, but for Black Cat he sticks to his familiar unamplified tenor, playing raunchy gutbucket lines over Ron Carter's warm, deep-toned bass, Idris Muhammad's laid-back drums, and Harold Mabern's twinkling piano (yes, piano, not the soul-jazz cliché Hammond organ). Most of the time, only guitarist George Freeman is plugged in, but even he plays with clean-toned restraint. The centerpiece tracks are the funky soul-jazz blues "Piece to Keep Away Evil Spirits" and the more danceable, groove-oriented "Jug Eyes," which would become two of Ammons' most popular tracks, but the surprises are a pair of pop covers, Gary White's "Long Long Time" (popularized by Melanie and Linda Ronstadt) and the Beatles' "Something." Most soul-jazz covers of pop songs sound like boring, uninspired feints towards radio airplay, but Ammons turns both of these melodic ballads into solo showcases for himself and Mabern that show off both players at their finest. ~ Stewart Mason, AMG.

Prestige Records, PRST 10006, 1971

Recorded 11^th November, 1970 at Van Gelder Studio, Englewood Cliffs, New Jersey

Track Listing:

A1. The Black Cat! {George Freeman} (5:34)

A2. Long Long Time {Gary White} (4:28)

A3. Piece To Keep Away Evil Spirits {Gene Easton} (7:48)

B1. Jug Eyes {Gene Ammons} (8:07)

B2. Something {George Harrison} (3:18)

B3. Hi Ruth! {Gene Ammons} (5:07)

Personnel:

Gene Ammons - Tenor Saxophone

Harold Mabern - Piano, Rhodes Piano (#A2,B2)

George Freeman - Guitar

Ron Carter - Bass

Idris Muhammad - Drums

Bill Fisher - Conductor [Strings] (#A2,B2)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Arranger - Bill Fisher (#A2,B2)

Design - Don Schlitten

Liner Notes - Harry Abraham, WHAM, N.Y. (January 1971)

One of the great funky albums that Gene Ammons cut for Prestige at the start of the 70s - quite different than his earlier work for the label, and a very different showcase for his tenor genius! The whole lineup here is amazing - a quintet that features heavy drums from Idris Muhammad, piano and Fender Rhodes from Harold Mabern, bass from Ron Carter, and some tremendously smoking guitar from the great George Freeman! Freeman goes nuts on the funky cut "The Black Cat" - and other tracks include "Jug Eyes", "Hi Ruth", "Something", and "Piece To Keep Away Evil Spirits". © Dusty Groove, Inc.

George Benson - Body Talk (1973)

With an eye and ear on what was happening on the soul charts -- James Brown in particular -- Benson made a decided swerve toward R&B on this release. Indeed the JB's Pee Wee Ellis turns up as a big band arranger on three tracks, and he no doubt had a direct influence on the distinct JB groove of one of the non-big-band tunes, "Dance." It should come as no surprise by now that this formidable guitarist has no problem handling any kind of groove, although the mixed rhythm section of Jack DeJohnette, Ron Carter, electric pianist Harold Mabern, and percussionist Mobutu sometimes sends mixed messages. Earl Klugh has a few tasty moments on his own, and there are some reconnaissance flights back to the jazz side of George, which he handles with his usual confident aplomb. ~ by Richard S. Ginell, AMG.

CTI Records, CTI 6033, 1973

Recorded 17^th (Side B) & 18^th (Side A) July 1973 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

George Benson - Guitar

Frank Foster - Tenor Saxophone (#A3-B2)

Waymon Reed - Flugelhorn, Trumpet (#A3-B2)

John Gatchell - Flugelhorn, Trumpet (#A3-B2)

Jon Faddis - Flugelhorn, Trumpet (#A3-B2)

Dick Griffin - Trombone (#A3-B2)

Gerald Chamberlain - Trombone (#A3-B2)

Harold Mabern - Electric Piano

Earl Klugh - Guitar

Gary King - Electric Bass

Ron Carter - Bass

Jack DeJohnette - Drums

Mobutu - Percussion

Track Listing:

A1. Dance {Alfred Ellis, George Benson} (10:30)

A2. When Love Has Grown {Donny Hathaway, Gene McDaniel} (5:01)

A3. Plum {George Benson} (5:28)

B1. Body Talk {George Benson} (8:21)

B2. Top Of The World {George Benson} (9:56)

Credits:

Producer - Creed Taylor

Arranger, Conductor - Pee Wee Ellis

Recording Engineer - Rudy van Gelder

Design - Bob Ciano

Cover Photograph - Pete Turner

(Keno Duke) Jazz Contemporaries - Reasons In Tonality (1972

A re-post request fulfilled. 

This one was a gift from our friend wid who hasn't been around for quite awhile now.

(Keno Duke) Jazz Contemporaries - Reasons In Tonality (1972 Strata-East 1972-2)

01 - Reasons In Tonality
02 - 3-M.B.

George Coleman - Tenor Sax
Julius Watkins - French Horn
Clifford Jordan - Tenor Sax
Harold Mabern - Piano
Larry Ridley - Bass
Keno Duke - Drums
John Sadler - Recording Eng.

Recorded Live at the Village Vanguard, NYC, Feb. 13, 1972One of the greatest Strata East albums, and one of the few albums ever by Keno Duke (and all of them are great). Duke leads a crack group of soul jazz players, featuring Clifford Jordan and George Coleman on tenor, plus Julius Watkins on French horn, and Harold Mabern on piano, who is in excellent excellent form, and who really drives the whole thing with beautiful crashing chords. Two extended tracks, both of them over 20 minutes in length. Beautiful!

Keno Duke Jazz Contemporaries - Sense of Values (24/48 vinyl rip)

As you will see in the comments, there was a request for a re-up and I decided to try a 24/48 re-rip. The last time I re-ripped this to 16/48 there was unquestionably a significant improvement in the depth and clarity - this time the improvement is more subtle - if you listen carefully to the cymbals for example you will hear a little more evidence of the actual note the cymbal is tuned to. I had to listen carefully and frankly I'm not entirely convinced that the degree of improvement is worth doubling the file size, but in the end I do believe it is slightly audibly better.

Keno Duke Jazz Contemporaries - Sense of Values

Strata East, 1974, Vinyl LP rip

A1 Sense Of Values 4:47
Written-By – K. Duke*
A2 Mirage 9:25
Arranged By – F. Strozier* Written-By – L. Slessinger*
A3 Tibiron 5:46
Written-By – F. Strozier*
B1 Too Late, Fall Back Baby 6:55
Written-By – H. Mabern*
B2 D.R.T. 8:15
Written-By – F. Strozier*
B3 Bajan-Bajan 6:05
Written-By – K. Duke*

Drums – Keno Duke, Flute, Alto Saxophone – Frank Strozier, Piano – Harold Mabern, Tenor Saxophone – George Coleman, Bass – Lisle Atkinson, Painting [Cover] – Roland Bloch

I don't think it would be overstatement to call this a post-bop / modal jazz masterpiece. I listen to Big George here and it makes me wish Miles had given him just a little more time, not that I would miss out on even a second of Miles with Wayne mind you.

By this, the second album, this band had clearly become a single organism with 5 voices all driven by a shared mind. This is one serious Jazz Album! All original music played with passion and intelligence and with a fabulous pair of front line voices in Coleman and Strozier but don't sleep on Harold Mabern or Lisle Atkinson because their contributions are huge too. (Lisles' eerie bowed bass line as the album closes is unforgettable) Duke's talents as a drummer and obviously as a band leader leave me wondering how he remained so obscure. This is a no-brainer here folks.

Dave Burns - Warming Up! [Vinyl rip/FLAC]

When poppachubby posted this a couple years back, I had just purchased a new sealed copy which actually stayed that way until a few days ago. Obviously I've opened it and ripped a fresh copy. Sounds pretty damn good to me! Not only is the ripping rig much improved but I've learned some new tricks too!

Vanguard (VRS-9143)
1964

Dave Burns (tp);  Al Grey (tb);  Billy Mitchell (ts);  Herman Wright (bass fiddle);
Harold Mabern (p);  Bobby Hutcherson (vh);  Otis Finch (d);  *Willie Corea (tymboli)
* on Richie's Dilemma and Rigor Mortez only

1. Day By Day   2. Now Ain't It   3. I Can't Give You Anything But Love
4. Richie's Dilemma   5. Slippers   6. Warm Up   7. My Romance   8. Rigor Mortez

Roland Kirk - The Roland Kirk Quartet Meets The Benny Golson Orchestra

The Roland Kirk Quartet Meets the Benny Golson Orchestra
Jun 11, 1964-Jun 12, 1963
Label: Mercury 20844

   1. Ecclusiastics
   2. By Myself
   3. Roland Speaks
   4. A Nightingale Sang in Berkeley Square
   5. Variations on a Theme by Hindemith
   6. I've Got Your Number
   7. Between the Fourth and the Fifth Step
   8. April Morning
   9. Get in the Basement
  10. Abstract Improvisation

Virgil Jones, Richard Williams-tpt (1-5)
Tom McIntosh, Charles Greenlea-tbn (1-5)
Don Butterfield-tu (1-5)
Harold Mabern-p (1-10)
Richard Davis-b (1-5)
Abdullah Rafik-b (6-10)
Albert Heath-d (1-5)
Sonny Brown-d (6-10)
Benny Golson-cond, arr (1-5)

Another wonder from Kirk's Mercury years that has spent far more time out of print than in print. Not for any failure of the music here, I'm surprised this album was never popular, side one is with a nonet arranged by Benny Golson with some very appealing music including the twisted Monk-like  'Ecclusiastics' and the lovely 'A Nightingale Sang In Berkeley Square' featuring Kirk on strich. Side two is a quartet set from a year later that is full of great moments too. 'Ive Got Your Number' is another strich piece that rivals any alto man, followed by one of those jaw dropping full horn chorus numbers that leave you speechless, and then two completely different tenor tour de force pieces that have Roland showing off a slightly Coltrane ballad sound on 'April Morning' and then pure Sonny Rollins trio voicing in 'Get in the Basement'. I don't recall exactly which piece it is now but on one of these you hear one of the first examples of Roland's circular breathing, a technique which only he ever made in the least bit interesting for my ear. (are you hearing me Irvin Mayfield?)

Kirk was the ultimate musical chameleon; he could play anything and sound any way he liked from Hawkins to Trane, and from Bechet to Lacey. He was a walking musical encyclopedia in much the same fashion that Jaki Byard was. No wonder that they enjoyed playing together! Mingus must have been in heaven to have the two of them in the band at the same time, it gave him a variety of tonal colors to play with that let him express his Duke-ness most effectively.

In my mind all these Mercury recording of Roland Kirk are essential for any jazz fan, so I will dig through all of them and bring those that still languish out of print to the Crypt. At least nowadays things like We Free Kings, Domino, Rip Rig and Panic and I Talk With The Spirits seem to stay in print so there is some evidence that the world is finally catching up to Roland. About damn time!

Roland Kirk - Reeds and Deeds

One of the guys whom I first focused on at The Crypt nearly 4 years ago now. I've always preferred the Mercury Kirk to the Atlantic Kirk and I'll never understand why certain of these albums are never in print.

Of all the forgotten Kirk albums, the failure to keep this one in print would have to be the most mystifying. A true lost gem that now days can only be reconstructed from the out of print Mercury Kirk box. The album features a larger ensemble than previous sessions but the many voices and colors of Kirk's axes are undiminished. Check out the wonderful trumpet work by Virgil Jones and the burning trombone solos by Charles Greenlea. A masterpiece start to finish that stands up to anything from the Mercury era.

Roland Kirk: Reeds and Deeds
Mercury 20800, 1963

01 Reeds and Deeds 5:20
02 Hay Ro 3.04
03 This Is Always 4:20
04 Song of the Countrymen 6.56
05 Limbo Boat 3:02
06 Lonesome August Child 4:36
07 Land of Peace 5:54
08 Waltz of the Friends 4.40


Recorded in New York, February 25-26, 1963


[track. 2, 5-8]
Roland Kirk (ts, manzello, stritch, fl, siren)
Virgil Jones (tp)
Charles Greenlea (tb)
Harold Mabern (p)
Abdullah Rafik (b)
Walter Perkins (ds)

[track 1,3,4]
Arranged & Conducted By: Benny Golson
Roland Kirk (ts, manzello, stritch, fl, siren)
Virgil Jones (tp)
Tom McIntosh (tb)
Harold Mabern (p)
Richard Davis (b)
Walter Perkins (ds)