Meeting of the Times is an album by jazz multi-instrumentalist Rahsaan Roland Kirk and vocalist Al Hibbler recorded in March 1972 in New York City. It features performances by Kirk and Hibbler with Hank Jones, Ron Carter and Grady Tate with an additional track recorded by Kirk with Leon Thomas, Lonnie Liston Smith, Major Holley and Charles Crosby from the sessions that produced Here Comes the Whistleman (1965).
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. One of the most hard-edged albums we've ever heard from pianist Kirk Lightsey – thanks to the presence of Jerry Gonzalez on congas, which really adds a nice extra bite to the record! The whole lineup is great – and includes Santi Debriano on bass and Eddie Gladden on drums – but it really seems to be Jerry's percussion that kicks the whole album into gear – bringing up a bit more bottom than usual in Lightsey's work on the keys, and giving even the mellower moments a Latin current that really keeps things fresh – and which we would have liked to hear more from Kirk over the years. Titles include "Habiba", "For Albert", "One Finger Snap", "Blues On The Corner", and "Eighty One".
Saxophonist Kirk Whalum offers listeners Chapter 2 of his Gospel According to Jazz series with this ten-track collection of brilliant contemporary gospel-jazz. Recorded live at the West Angeles Cathedral in Los Angeles, CA, The Gospel According to Jazz, Chapter 2 rejoins Whalum with the core members from Chapter 1 as well as a host of gospel and jazz dignitaries.
12 years after saxophonist and composer Kirk Whalum issued the first The Gospel According to Jazz recording comes its third chapter. Recorded live at Reid Temple in Glenn Dale, MD, the set contains a stellar backing band that includes Reginald Veal on upright bass, organist Jerry Peters, percussionist Lenny Castro, trumpeter Aaron Broadus, and additional horns, vocals, and backing vocals. As is customary for these recordings, there are also a number of special guests including George Duke, Lalah Hathaway, Doc Powell, John Stoddart, and a slew of family members including sons, uncles, cousins, and nephews.
Frontrunner for the "Most Joyously Fun Jazz Musician of All Time" award, multi-instrumentalist and sonic inventor extraordinaire Roland Kirk is a universe of music unto himself. A listen to 1964's KIRK IN COPENHAGEN, the artist's first live album, should substantiate such claims. With an international band that includes Spanish pianist Tete Montoliu, Danish bassist Niels-Henning Orsted Pedersen, and Americans Don Moor (bass) and J.C. Moses (drums), Kirk wreaks beautiful, subversive havoc on the bop, swing, and free-jazz idioms without once skipping an iota of technical precision. That Kirk plays tenor, flute, manzello, strich, siren, and nose flute on Ellington's "Mood Indigo," and makes the chestnut sound as lovely and surprising as ever, should be testament enough to his skills. But Kirk's originals shine as well. "Narrow Bolero," an angular blues inspired by Ravel's Bolero, gives way to the "Mingus-Griff Song," a swinging tribute to friends Charles Mingus and Johnny Griffin. But the highlight is "The Monkey Thing," a crazed blues circus of a tune that features flute and vocal interpolations by Kirk and smoking harmonica lines from a musician credited as "Big Skol" (who is, in fact, blues legend Sonny Boy Williamson). A more rollicking good time is hard to come by.