Seek & Listen: Live at the Penthouse＜限定盤＞

1967年8月12日と19日にワシントン州シアトルのペントハウス・ジャズクラブで録音された、輝かしいマルチ・インストゥルメンタリスト、ラサーン・ローランド・カークの未発表ライヴ音源。

ピアニストのロン・バートン、ベーシストのスティーヴ・ノボセル、ドラマーのジミー・ホップスと共に演奏。
カークの未亡人であり、ラサーン・ローランド・カーク財団のドルサーン・カークとの協力によりリリースされたこの貴重な音楽は、もともとラジオDJのジム・ウィルケがKING-FMラジオのために録音したもの。
ヤン・パーソン、トム・コピ、レイモンド・ロスらによる貴重な写真、作家ジョン・クルースとメイ・コブによる新規ライナーノーツ、サックス界の巨匠ジェームス・カーターとチコ・フリーマン、トロンボーン奏者スティーブ・トゥーレらによるインタビューと賛辞を収録した充実のブックレットには、、カークの長年のプロデューサー兼支援者ジョエル・ドーンの息子アダム・ドーンらによるインタビューと証言も収録されている。
＜パーソネル＞Rahsaan Roland Kirk(ts, fs, stritch, manzello,flexatone, siren, whistle, vocals, etc) Rahn Burton(p) Steve Novosel(b) Jimmy Hopps(ds)

In November 2025, producers Zev Feldman and George Klabins Resonance Records released two unissued live recordings by Rahsaan Roland Kirk. Seek & Listen: Live at the Penthouse is the second. A double disc, it was recorded in 1967. The package contains rare photos and essays by widow Dorthaan Kirk, biographer John Kruth, best-selling novelist and Kirk authority May Cobb, James Carter, Steve Turre, Chico Freeman, and Adam Dorn. Kirk’s band included pianist Ron Burton, bassist Steve Novosel, and drummer Jimmy Hopps in 11 selections. The set opens at the tail-end of the rowdy "The Jump Thing,” then gives way to Burt Bacharachs and Hal Davids "Alfie." Burton embellishes Kirks gorgeous tenor lines with graceful elegance as the rhythm section walks behind him. "Mingus-Griff Song" is an original. At over 12 minutes, this band fires on all cylinders. Whether Kirk is playing tenor, manzello, stritch, flutes, or whistles, his creative intensity is total. Tenor sings first, but all three horns appear. Burton’s deft right-hand runs and chromatic chords provide the rhythm section with fuel. Two medleys close disc one, the first joins Cole Porters "Evry time We Say Goodbye" (introduced by gorgeous flute) to Duke Ellingtons "Evrytime We Say Goodbye/I’ve Got It Bad/Sophisticated Lady/Satin Doll." Manzello enjoys the first Ellington number as Hopps’ brushes whisper to Burton and Novosel. Kirk sings on “Ive Got It Bad," his tender flute providing innate, revelatory lyricism. "Satin Doll" has a quick tempo, layering soul-jazz, swing, and melodic hard bop. The set closer is Kirks "Blues for C & T/Happy Days Are Here Again/Down by the Riverside." Introduced by freewheeling improv, it shapeshifts into Kirks trademark "tent style” performance, threading gospel, blues, swing, soul, and avant jazz with shouts, chants, and riotous horns as the band swings like mad. Disc two opens with a Latinized soul-jazz version of "Ode to Billy Joe" that recalls Mingus, Horace Silver, and Ray Barretto’s boogaloo. At over 12 minutes, everybody gets to solo as Burton quotes from "Wade in the Water" with a punchy groove. Kirks read of Ellington’s "Prelude to a Kiss” offers a slightly dissonant head. Novosel adds a driving bassline as a guide. Kirk’s manzello solo rings out, joining blues, swing, and gritty improvisation. The remaining four tunes are originals. “Funk Underneath” is a blues with Kirk playing flutes. It’s loose, wooly, and joyful, combining bop and blues with killer solos from Kirk and Burton. The iconic “Now Don’t You Cry, Beautiful Edith” is rendered with resonant emotion, dissonance, joy, and infectious grooves. His solo melds sweet melody and gutbucket blues. “Love After Hours” uses boogie woogie with Hopps leading the charge. Kirk, amid the entire horn section, solos on flute and shouts the blues over fat soulful piano chords, a walking bassline, and a cut-time kit shuffle. Seek & Listen: Live at the Penthouse adds a new dimension to Kirk’s catalog in showcasing him at a true creative and musical peak. ~ Thom Jurek