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Volunteered Slavery

Rahsaan Roland Kirk

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iTunes Review

A mix of live recordings from 1968's Newport Jazz Festival and New York studio recordings made later that same month, Volunteered Slavery shows Rahsaan Roland Kirk being propelled by the energy of the late '60s toward a moment of ecstatic liberation. The title song epitomizes Kirk’s irrepressible personality. It starts as a funky vamp, while the band chants: “Volunteered slavery has got me on the run/Volunteered slavery has got me havin’ fun.” As the band picks up steam, Kirk hollers over it: “If you wanna know how it is to be free, you got to spend all day in bed with ME!” The song is testament to a musician who refused to believe in boundaries, whether physical, sexual, social, or musical. For perhaps the first time in his career, Kirk was working with a band that could match his swagger. As he says to the Newport audience in his introduction to “One Ton”: “It’s not gonna get any lighter.” This set returns Kirk to the meatiest, dirtiest roots of the blues, while advancing a philosophy of black liberation that (while analogous to his peers) belongs wholly to Kirk.

Customer Reviews

So much flows from this river of sound......

It was 1969. I was in high school. My best pal and I read the review of this album in ROLLING STONE and immediately knew we had to have it. Once purchased, our souls were filled with the power, warmth, and humor of The Man Who Would Be Rhassan. ONE TON will blow your mind.The way he translates the Stevie Wonder classic MA CHERIE AMOUR is liberating. And he turns a Burt Bacharach song into a freakin' STOMP! Words seem inadequate to describe the joy of this record, so stop reading mine and experience it for yourself...."take it outta my time."

Rahasaan Roland Kirk

This is my all time favorite album

My Favorite

The one I like best.

Biography

Born: August 7, 1936 in Columbus, OH

Genre: Jazz

Years Active: '50s, '60s, '70s

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 music's 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...
Full Bio

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