Mix - Rahsaan Patterson - Don't Run So Fast YouTube Rahsaan Patterson ' Luther V - Don't You Know' LIVE @ Birchmere 3/24/2017 - Duration: 5:52. Dawn Cooper 27,125 views.

If you're familiar with, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help. You can become a sustaining member for a modest and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Rahsaan Roland Kirk Spirits Up Above: The Atlantic Years 1965-1976 2012 He was as funky as singer. With three horns in his mouth, he sounded like the entire JB reed section.

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And onstage, with a truckload of instruments around his neck, he was the hardest working man in jazz business. Saxophonist, flautist, clarinetist and multiple custom-reed instrumentalist Rahsaan Roland Kirk (1936-77) livened up the music scene like few other artists before or since. Blind since early childhood, Kirk started out as an R&B tenor player. He recorded his first album, Third Dimension (King) in 1956, and spent a short while in bassist ' band. By 1960, when he released his second disc, Introducing Roland Kirk (Chess), he was recording and performing almost exclusively under his own name. Along the way, Kirk acquired an array of exotic reed instruments—the best known being the stritch, a straightened-out alto saxophone, and the manzello, a soprano saxophone customized with a mellophone bell—and learnt to blow three instruments at the same time, creating a drone on one while fingering the others with one hand apiece. He mastered circular breathing, which allowed him to play sustained chords beneath his top line.

His vocalized flute style was picked up widely by jazz and rock musicians. Kirk was also prolific, recording, on average, over an album a year from 1960 until his stroke-induced, early death. Warner Jazz's two-disc anthology takes a track or two from each of the albums Kirk recorded during his decade-long purple period on Atlantic: Here Comes the Whistleman (1965), The Inflated Tear (1967), Left and Right (1968), Volunteered Slavery (1969), Rahsaan Rahsaan (1970), Natural Black Inventions: Root Strata (1971), Blacknuss (1971), A Meeting of the Times (1972), I, Eye, Aye! (1972) Prepare Thyself to Deal With a Miracle (1973), Bright Moments (1973), The Case of the Three-Sided Dream in Audio Color (1975) and Other Folks Music (1976); and one track, recorded in 1968, from the 1990 anthology Does Your House Have Lions. The 22-track collection, sequenced more or less chronologically, follows Kirk's trajectory from a neo-bar walking tenor saxophonist ('Making Love After Hours' and 'Roots' from Here Comes the Whistleman), into a more ambitious, but no less compelling, composer and player, beginning with 1967's 'Inflated Tear.' Many of Kirk's most celebrated tracks are included, along with a couple of dogs—'Portrait of Those Beautiful Ladies' and 'Freaks For the Festival' from 1975's The Case of the Three-Sided Dream in Audio Color, an unfortunate attempt to buff up the music for the emergent jazz-funk audience.