Rahsaan Roland Kirk

Rahsaan Roland Kirk (1936-1977) 來(lái)自美國(guó)俄懷俄州,出生后沒(méi)多久就失明,他在俄懷俄州立盲人學(xué)校就讀, 12 歲便在校園組的樂(lè)團(tuán)玩薩克斯風(fēng)與黑管, 15 歲擁有屬於自己的樂(lè)團(tuán),在俄懷俄州表演. 　　 　　
16 歲的某天他夢(mèng)到自己可以一次玩三個(gè)樂(lè)器,隔天他跑到樂(lè)器行試遍了所有的簧管樂(lè)器,后來(lái)老板帶他到地下室,那里有一些二手的樂(lè)器,他發(fā)現(xiàn)兩支西班牙軍樂(lè)隊(duì)使用過(guò)的薩克斯風(fēng),一支叫做 stritch,是中音薩克斯風(fēng)的一種,另一支叫 manzello,外型有點(diǎn)像中音薩克斯風(fēng),但聽(tīng)起來(lái)像高音 (薩克斯風(fēng)). 　　 　　
Kirk 把它們買(mǎi)下來(lái),再加上一支高音薩克斯風(fēng)練習(xí),同時(shí)吹奏三項(xiàng)樂(lè)器,有時(shí)稍微不協(xié)調(diào),結(jié)果就變得很刺耳,這種吹奏方式十分具有特色,也讓 Roland Kirk 的音樂(lè)豐富化了,有時(shí)他也會(huì)使用霧號(hào),口笛等樂(lè)器,讓表演更具戲劇張力. 　　 　　
1956 年 Kirk 制作首張專(zhuān)輯,卻沒(méi)被大眾注意, 1960 年透過(guò) Ramsey Lewis 幫忙, Kirk 在廠(chǎng)牌 Cadet 旗下錄音,馬上引起爭(zhēng)論,大家都覺(jué)得他在耍噱頭, Kirk 為自己辯解,說(shuō)他演奏的每個(gè)聲音都其來(lái)有自,當(dāng)他在演奏時(shí),腦子會(huì)出現(xiàn)霧號(hào)與其他聲音,他知道自己在做什麼. 　　 　　
事實(shí)上, Kirk 對(duì)傳統(tǒng)爵士樂(lè)了解甚透,也知道早期的音樂(lè),例如 Jelly Roll Morton (與 Fats Waller),他們將汽笛,哨子,人聲與汽車(chē)?yán)鹊嚷曇艏尤胱髌分?成為相當(dāng)特殊的音效.對(duì) Kirk 來(lái)說(shuō),爵士音樂(lè)就是 black classical music,他承繼了 black classical music 狂野,不屈服的精神,從這角度而言,他就是 pure - Kirk 的作品中幾乎看不到任何早期歐洲音樂(lè)的影子.
1961 年 Kirk 與 Charles Mingus 工作了 4 個(gè)月,且出現(xiàn)在 Mingus 的專(zhuān)輯 Oh Yeah 里,與他一同到加州巡回的結(jié)果,是名聲逐漸在國(guó)際樂(lè)壇間傳開(kāi),與 Mingus 的工作合約到期后,便開(kāi)始踏入歐洲,在西德的 Essen jazz festival 活動(dòng)里獨(dú)奏, 1963 年起 Kirk 便固定與他的四重奏出國(guó)表演,第一個(gè)固定表演的場(chǎng)所是 Ronnie Scott 的 Jazz Club, 60 年代后期到 70 年代初期, Kirk 的樂(lè)團(tuán) Vibration Society 在美國(guó),加拿大,歐洲,澳洲,紐西蘭的各大 club,現(xiàn)場(chǎng)音樂(lè)會(huì)與主要的音樂(lè)節(jié)里表演. 其實(shí)光聽(tīng) Roland Kirk 一個(gè)人表演,就有四重奏的感覺(jué)了,沒(méi)有四重奏至少也有三重奏,說(shuō)他是薩克斯風(fēng)的超技樂(lè)手,一點(diǎn)也不恭維. 　　 　　
導(dǎo)演 Dick Fontaine 拍的一支 短片 Sound (1966-67),里面出現(xiàn)的人物包括有 Rahsaan Roland Kirk, John Cage 與 David Tudor.. 等 　　 　　
1967 年 4 月 Roland Kirk 在錄完專(zhuān)輯 Now Please Don't You Cry, Beautiful Edith 后便來(lái)到 Atlantic,到了 11 月 Kirk 決定帶著他的四重奏樂(lè)團(tuán) (鋼琴 Ron Burton, 貝斯手 Steve Novosel,鼓手 Jimmy Hopps) 透過(guò)藍(lán)調(diào)與 60 年代中期傳統(tǒng)式的 groove 來(lái)表達(dá)內(nèi)省的,深沉的,細(xì)長(zhǎng)的氛圍. 　　 　　
同年 11 月 Roland Kirk 首次在 Atlantic 唱片旗下發(fā)行專(zhuān)輯 The Inflated Tear (后來(lái)又在相同廠(chǎng)牌發(fā)行另外兩張響叮當(dāng)?shù)膶?zhuān)輯 Blacknuss 與 Volunteered Slavery),這張專(zhuān)輯一推出時(shí)并沒(méi)被注重,連制作人 Joel Dorn 與老板 Neshui Ertegun 都對(duì) The Inflated Tear 沒(méi)有抱持太多期待. 　　 　　
Kirk 在這張專(zhuān)輯一人演奏了笛,黑管,薩克斯風(fēng),哨子,還有上述過(guò)的 strich 與 Manzello 等樂(lè)器,發(fā)展出屬於自己的聲音,尤其是當(dāng)這些樂(lè)器同時(shí)被吹奏的時(shí)候,馬上引來(lái)爵士樂(lè)迷的齊聲躂伐,說(shuō)他耍噱頭,不過(guò)隨后這群批判者在聽(tīng)完壓抑又高雅的 Black and Crazy Blues,令人眩暈的 Creole Love Call,靈魂深處的 The Inflated Tear,隨風(fēng)飄逸的抒情小品 Fly by Night 后,對(duì)他的作品如癡如醉,愛(ài)恨交加.?
結(jié)果發(fā)行后第一年 The Inflated Tear 就賣(mài)了超過(guò) 1 萬(wàn)張,這個(gè)數(shù)字超乎 Kirk 想像,也是他始料未及的 夢(mèng),他對(duì)爵士的涉獵與專(zhuān)業(yè)在這張專(zhuān)輯中表露無(wú)遺,對(duì)於想了解他的樂(lè)友來(lái)說(shuō), The Inflated Tear 是一張指標(biāo)性的入門(mén)專(zhuān)輯.?
Volunteered Slavery 專(zhuān)輯於 1968 年到 1969 年 間錄制,音樂(lè)風(fēng)格偏向非洲詩(shī)歌與后咆勃,藍(lán)調(diào),參與錄制的樂(lè)手分別是小號(hào)手 Charles McGhee,伸縮小號(hào)手 Dick Griffin,風(fēng)琴手 Mickey Tucker,貝斯手 Vernon Martin,鼓手s Jimmy Hopps, Charles Grady 和 Sony Brown.?
Volunteered Slavery 光以字面來(lái)看恐讓人朝性變態(tài)的方向產(chǎn)生荒謬聯(lián)想,原因就出在於 Slavery 這個(gè)字上,不過(guò)這里所指的奴隸,指的是非洲裔美國(guó)公民長(zhǎng)久被歧視而遭受到不公平的待遇.這張專(zhuān)輯的命名,只是 Roland Kirk 的機(jī)伶和小小的惡作劇罷了.?
從他在歌曲中夸飾說(shuō)著: If you wanna know how it is to be free/ You got to spend all day in bed with me 就可欣賞他的幽默方式. 　　 　　
Kirk 不只一次透過(guò)這種詼諧嘲諷的方式傳達(dá)心中對(duì)於黑人人權(quán)觀(guān)感的憤怒,如果你還聽(tīng)過(guò)他的其他歌曲如 Inflated Tear 或 Black Mystery Has Been Revealed. 　　 　　
暗潮洶涌的旋律首先透過(guò)簡(jiǎn)短的薩克斯風(fēng)聲音,接著聽(tīng)到 Kirk 重復(fù)吟唱著: Oh, volunteered slavery has got me on the run / Oh, volunteered slavery has got me havin' fun,讓人回想起黑人音樂(lè)一應(yīng)一答的獨(dú)特合唱方式, Sun Ra 的專(zhuān)輯 Space Is The Place 和 Outer Spaceways Incorporated 也有相同特色.?
當(dāng) Kirk 用次中音薩克斯風(fēng)二重奏時(shí),其他團(tuán)員想辦法讓整個(gè) groove 獲得延伸,然后逐漸點(diǎn)燃情緒,巧妙地增加聆聽(tīng)者的感受力, Kirk 狡猾地在歌曲某段落引用 Hey Jude 的和弦并不令人意外,他總是大方的公開(kāi)贊揚(yáng) Beatles 和 the Animals 的音樂(lè)對(duì)現(xiàn)代音樂(lè)有廣大的影響力. 　　 　　
Spirits Up Above 以藍(lán)調(diào)方式激烈喊唱,非常具有靈魂味道, Kirk 演奏 Burt Bacharach 與 Hal David 制作的經(jīng)典歌曲 I Say a Little Prayer,及向 John Coltrane 致敬的歌曲 Afro Blue, Lush Life, Bessie's Blues,雖然朗朗上口的旋律就可達(dá)到百萬(wàn)銷(xiāo)售成績(jī),同時(shí)還扣人心弦,不過(guò)透過(guò)他的演奏,可能就需要愿意接受新事物的聽(tīng)眾,才能了解其詮釋方式, Kirk 將黑人音樂(lè)演奏出獨(dú)一無(wú)二的版本,將這些歌曲推向更崇高的境界,這是需要對(duì)音樂(lè)歷史透徹知悉,同時(shí)還要兼?zhèn)湟魳?lè)素養(yǎng)與演奏技巧的大師,才有辦法完成任務(wù). 　　 　　
1975 年, Rahsaan Roland Kirk 因中風(fēng)關(guān)系導(dǎo)致半身麻痹,依靠驚人的意志力,他使用單手吹奏 - 帶著這個(gè)屬於薩克斯風(fēng)手的夢(mèng)靨 + 天敵般的疾病出國(guó)巡回,到音樂(lè)節(jié)里演出,還出現(xiàn)在電視節(jié)目上, 1977 年因?yàn)槎戎酗L(fēng), Rahsaan Roland Kirk 不幸辭世,享年 41 歲.?
Kirk 不僅受到大眾喜愛(ài),連音樂(lè)家也對(duì)他欣賞不已.他并沒(méi)有閉門(mén)造車(chē),完全讓自己投入於整個(gè)爵士樂(lè)史,從早期的紐澳良,透過(guò) swing 與 bebop,經(jīng)歷 60 年代的抽象爵士,與 70 年代的 avant-garde.整個(gè)音樂(lè)生涯中 Kirk 錄制了許多向自幾己敬愛(ài)的音樂(lè)人致敬的歌曲,這些人是 Fats Waller, Billie Holiday, Duke Ellington, Lester Young, Thelonious Monk, Sidney Bechet, Don Byas, Roy Haynes, Charles Mingus, Clifford Brown, Barney Bigard 與 John Coltrane. 　　 　　
Kirk 通曉爵士樂(lè)史,我們卻無(wú)法對(duì)他的音樂(lè)或他個(gè)人下定義,既非傳統(tǒng)樂(lè)手,亦非完全極端的前衛(wèi),即便到了 90 年代,他的音樂(lè)聽(tīng)起來(lái)絲毫沒(méi)有過(guò)時(shí)的感覺(jué),因?yàn)?Kirk 總是在平常熱衷於聆聽(tīng)與學(xué)習(xí),他的天份啟發(fā)許多年輕樂(lè)手,除了樂(lè)手身份外,他也是優(yōu)秀的制作人,最為人道的歌曲有 From Bechet, Byas and Fats, No Tonic Pres, Bright Moments, Let Me Shake Your Tree, The Inflated Tear.?
J.E. Berendt 說(shuō) Roland Kirk 身上有街頭藝人狂放粗野般的特質(zhì),同時(shí)又具有現(xiàn)代爵士樂(lè)家的纖細(xì)敏感, Michael Ullman 則說(shuō)聽(tīng)過(guò)他的音樂(lè) Shine On Me 就彷佛見(jiàn)到上帝,病痛能不藥而愈,人死也能復(fù)生.?
Does Your House Have Lions: The Rahsaan Roland Kirk Anthology 這套 2cd 精選輯收錄 Kirk 於 1961 年至 1976 年間的作品,也幾乎是他全部音樂(lè)生涯中最精華的創(chuàng)作,共有 31 首,長(zhǎng)達(dá) 137 分鐘,內(nèi)容包括全方位的爵士,流行 / 靈魂,福音與 hard bop.?
這張合輯對(duì) Roland Kirk 迷來(lái)說(shuō)并不討喜,辛苦收集每一張 Kirk 的專(zhuān)輯,結(jié)果其精華一下子都在這里出現(xiàn),再者既然稱(chēng)為精選輯,歌曲編排方式?jīng)]有按照年份逐一排列,還將錄音室作品與現(xiàn)場(chǎng)表演的錄音穿插編排.?
這是專(zhuān)輯制作人 Joel Dorn 的本意,要大家拋開(kāi)鎡銖計(jì)較的挑剔,全心進(jìn)入 Kirk 多采多姿的音樂(lè)世界, Does Your House Have Lions 被 all music 評(píng)選為 Roland Kirk 發(fā)行所有合輯中評(píng)價(jià)最高的,對(duì)於專(zhuān)業(yè)的唱片收藏家來(lái)說(shuō),也許他們會(huì)把這張精選輯拿在手上,望著里面的曲目口水直流,但又因?yàn)樾欧睢汉陷嫷膬r(jià)值不及於專(zhuān)輯』這樣的教規(guī),只好依依不舍的再把它擺回架上,不過(guò)對(duì)於從未接觸過(guò) Roland Kirk 音樂(lè)的新樂(lè)友們,這下子可有福了.
by Chris Kelsey
Arguably the most exciting saxophone soloist in jazz history, Kirk was a post-modernist before that term even existed. Kirk played the continuum of jazz tradition as an instrument unto itself; he felt little compunction about mixing and matching elements from the musics history, and his concoctions usually seemed natural, if not inevitable. When discussing Kirk, a great deal of attention is always paid to his eccentricities — playing several horns at once, making his own instruments, clowning on stage. However, Kirk was an immensely creative artist; perhaps no improvising saxophonist has ever possessed a more comprehensive technique — one that covered every aspect of jazz, from Dixieland to free — and perhaps no other jazz musician has ever been more spontaneously inventive. His skills in constructing a solo are of particular note. Kirk had the ability to pace, shape, and elevate his improvisations to an extraordinary degree. During any given Kirk solo, just at the point in the course of his performance when it appeared he could not raise the intensity level any higher, he always seemed able to turn it up yet another notch.
Kirk was born with sight, but became blind at the age of two. He started playing the bugle and trumpet, then learned the clarinet and C-melody sax. Kirk began playing tenor sax professionally in R&B bands at the age of 15. While a teenager, he discovered the manzello and stritch — the former, a modified version of the saxello, which was itself a slightly curved variant of the B flat soprano sax; the latter, a modified straight E flat alto. To these and other instruments, Kirk began making his own improvements. He reshaped all three of his saxes so that they could be played simultaneously; hed play tenor with his left hand, finger the manzello with his right, and sound a drone on the stritch, for instance. Kirks self-invented technique was in evidence from his first recording, a 1956 R&B record called Triple Threat. By 1960 he had begun to incorporate a siren whistle into his solos, and by 63 he had mastered circular breathing, a technique that enabled him to play without pause for breath.
In his early 20s, Kirk worked in Louisville before moving to Chicago in 1960. That year he made his second album, Introducing Roland Kirk, which featured saxophonist/trumpeter Ira Sullivan. In 1961, Kirk toured Germany and spent three months with Charles Mingus. From that point onward, Kirk mostly led his own group, the Vibration Society, recording prolifically with a range of sidemen. In the early 70s, Kirk became something of an activist; he led the Jazz and Peoples Movement, a group devoted to opening up new opportunities for jazz musicians. The group adopted the tactic of interrupting tapings and broadcasts of television and radio programs in protest of the small number of African-American musicians employed by the networks and recording studios. In the course of his career, Kirk brought many hitherto unused instruments to jazz. In addition to the saxes, Kirk played the nose whistle, the piccolo, and the harmonica; instruments of his own design included the trumpophone (a trumpet with a soprano sax mouthpiece), and the slidesophone (a small trombone or slide trumpet, also with a sax mouthpiece). Kirk suffered a paralyzing stroke in 1975, losing movement on one side of his body, but his homemade saxophone technique allowed him to continue to play; beginning in 1976 and lasting until his death a year later, Kirk played one-handed.