Rip, Rig and Panic (album)


  • Tenor Saxophone, Flute, manzello, Stritch, Oboe, Siren, castanets: Roland Kirk
  • Piano: Jaki Byard
  • Bass: Richard Davis
  • Drums: Elvin Jones

Rip, Rig and Panic is a jazz album by jazz saxophonist Roland Kirk from the year 1965.

History Album

The album was recorded on January 13, 1965 in Rudy Van Gelder's studio. The album consists mostly of compositions by Kirk. Many possibilities of the emerging avant-garde in the history of jazz rooted and seemingly all conventions are einhaltend also demonstrated Jazz. Kirk does not shine alone by the simultaneous interaction of several wind instruments, greatly expanding the range of sound. He used on this record for the first time, compared to later albums yet very economical achievements of electronic music.

Kirk called Edgar Varese's compositions Poeme electronique and ionization an inspiration for Album: When the title track " Rip, Rig And Panic " and " Slippery, Hippery, Flippery " he combined the acoustic sound of his quartet with pre- sound, computer generated tones, sounds of sirens, chimes and castanets, the alienation of one's own voice, crying babies and the bursting of a thrown on the ground glass.

The rhythm section with Elvin Jones on drums, Jaki Byard, the greatest group called on the piano and Richard Davis on bass, with the Kirk had ever made ​​a record. In particular pianist Byard proved to be the ideal partner for Kirk, since both both a thorough knowledge of the entire jazz tradition ( to the present ), lot of humor and conviction to want to present everything in Swing shared. The rhythm section was fast and responsive safe.

The album was released on the Mercury sub-label Limelight that struck in the United States due to its luxurious presentation: " It was the dream of an art director, but had no marketing success, even though Mercury is used for some of his most famous musicians. "

Music Album

In " Rip, Rig And Panic " there are numerous references to role models and pioneers. In the liner notes Kirk wrote to Title: " Rip is Rip Van Winkle; (or Rest in Peace? ) so are the people, even musicians. You sleep. Rig stands for rigor mortis (rigor mortis ). So the idea of the people. When they hear me do things that they can not believe that I could put their thoughts in panic "

Although Kirk is referring here to precursors and role models, he tries " nowhere to copy his idols. He creates quasi - futuristic musical portraits by combining known elements with new and repainted innovative. "

With "No Tonic Press" Kirk pays tribute to Lester Young. It is based on a riff that Kirk first heard at Young; he built on the melody of the piece that sounds strangely ambiguous in its harmonies. From the uptempo track suddenly occurs a change of stride piano. Also played in the mid- tempo bluesy conclusion reminiscent of " Prez ".

"From Bechet, Byas, And Fats" is a tribute to the soprano saxophonist Sidney Bechet, the tenor saxophonist Don Byas and pianist Fats Waller: The intensity of Kirk manzello game in "From Bechet, Fats, and Byas " recalls critic Dan Morgenstern the energy of the early soprano saxophonist Sidney Bechet, who introduced the soprano saxophone in jazz. The accompanying play of pianist carries over long distances characteristic features Fats Waller; which he apparently dissolves in the modal dominated Solo, in the arpeggio but Waller's Jitterbug Waltz appearing before it mixes with a celesta - like sound.

" Slippery, Hippery, Flippery " begins with pre-recorded electronic effects which mix with Kirk's sirens and saxophones; the piano initially sounds like Cecil Taylor, the saxophone by John Coltrane. However, the optimism of free jazz intertwines with a boisterous mood as in "Freedom Jazz Dance" by Eddie Harris.

"Black Diamond", a theme of Canadian pianist Milton Sealy, is a slightly sparkling jazz waltz, in which Kirk plays a rated as excellent solo on the manzello.

" Rip, Rig and Panic " begins with sounds that recall the sound explorations of free improvisation, but are all generated acoustically by Kirk and Richard Davis. After an extended solo Kirk coltraneske lines plays he enhances it through the already open to possibility of circular breathing to special intensity, while the pianist developed monksche trains. Above the drum solo heard sirens. The conclusion is dominated by electronics with Kirk's voice and synthesizer sounds gorgeous.

" Once in a While " inspired by trumpeter Clifford Brown. In this played in medium tempo piece depicts Kirk the tenor saxophone out, he plays very warm, so memories of Don Byas and Ben Webster are awake.

" Mystical Dream" is named after a dream in which he and Kirk had - played oboe, Stritch and tenor saxophone at the same time - as in this piece. He also still plays in the middle part a strongly by Eric Dolphy's flute lines inspired, the only time on this album.

Title list

View all tracks by Kirk, unless otherwise noted.

Evaluation and impact of the album

The album received belated recognition of jazz criticism. Richard Cook and Brian Morton awarded the Emarcy edition in their Penguin Guide to Jazz, the second highest score; the All Music Guide rated the album with the highest score of five stars. For Arte album is one of the " century recordings of jazz ".

Don Byron called the album an exemplary example of African-American aesthetics. Bert Noglik emphasizes " the creation of a new music from the appropriation and transformation of jazz historical, sometimes even uncut and a seemingly archaic material " out.

The music magazine Jazzwise recorded the album in the list The 100 Jazz Albums That Shook the World; Keith Shadwick wrote:

"Many maintain did Kirk never made ​​the perfect album: if so, this one comes closer than any other, mostly Because Elvin Jones is Consistently lighting a fire under the quartet gene rally and Kirk in Particular. The multi -reed man is so self- evidently pianist Jaki Byard 's inspired by playing and is Consistently taking Risks in everything he's doing. "

" Many claim Kirk would never have made the perfect album: if this is so, is this the closer than any other, mainly because Elvin Jones as constant, the Quartet and Kirk cheering in particular. The woodwind is obviously inspired by Jaki Byards game and consistently takes risks, with everything he does. "

The album's title was taken over by the eponymous English post-punk band, who belonged to the singer Neneh Cherry.

Editorial note

In CD form Rip, Rig and Panic released in 1990 on Emarcy Records, coupled with the Verve album Now Please Do not You Cry, Beautiful Edith from the year 1967. Rip, Rig and Panic is also published in the 1990 10 - CD Rahsaan collection. The Complete Mercury Recordings of Roland Kirk to find.