In his review of CSN&Y’s first London gig, Chris Welch indulged in some musical virtue signalling, saying he dozed off because he’d spent a ‘hectic night before digging Roland Kirk, now in a season at Ronnie Scott’s’. Sure Chris, like, whatever.
Rahsaan Roland Kirk (don’t know the photographer)
But who was Roland Kirk? I can do no better than link to this extensive 2008 profile by Geoffrey Himes that is as comprehensive as you’re likely to need and certainly better than I could ever manage. Roland Kirk was no stranger to London and Ronnie Scott’s and had plenty of admirers there, including, and not mentioned by Himes, Jimi Hendrix, who went to see Kirk at least twice–on 8 and 9 March 1969, jamming with him on one of those nights. Amongst Hendrix’s possessions at the time of his death was Kirk’s Rip, Rig and Panic (1965), which is straightahead bop with added whimsy and free jazz, Kirk’s horns blowing hot over an awesome rhythm section (sound familiar?)
Richard Williams’s review of Kirk’s opening night commented that Kirk was ‘still managing to go in several directions simultaneously and yet produce music which, when heard live, is as personal as any,’ noted his ability to ‘make jazz out of the most unlikely vehicles,’ including, that night, Pinball Wizard and My Cherie Amour.
Melody Maker, March 29 1969
Kirk often declaimed from stage on spirituality and racial politics. I’ve seen a lot of references to these as his ‘rants’. Those I’ve heard, though, sound a lot like him saying things that (white) jazz fans would prefer was left unsaid, and many still would.
The most recent album release by Kirk prior to the January 1970 shows was Volunteered Slavery, issued in 1969. After the Ronnie Scott’s residency, Kirk returned to the US and his performances at the Village Vanguard in May were recorded and released as Rahsaan Rahsaan. No recordings exist, as far as I know, of the Ronnie Scott’s dates, so Rhasaan Rhasaan is the closest we can get to those nights. It’s on Spotify.
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