Kirk's Work,
Rahsaan Roland Kirk's third long-player, teams him up with organist "Brother"
Jack McDuff for
Kirk's most soulful post-bop set to date. His unorthodox performance style incorporates the polyphonies of a tenor sax, flute, manzello, and stritch. (The latter instrument is
Kirk's own modification of a second-generation B-flat soprano sax.) This contributes to the unique sonic textures and overtones
Kirk creates when playing two -- and often three -- of those lead instruments simultaneously. The loose and soulful nature of
McDuff's Hammond organ lends itself to the swinging R&B vibe pervasive throughout the album. Completing the quartet is
Joe Benjamin (bass) and Art Taylor (drums), both veteran jazzmen in their own right. They lend their expertise as well as innate sense of rhythm to the up-tempo "revival meetin'" rendition of
Sammy Kahn's "Makin' Whoopee" as well as the ominous swing of the title track. This is also an ideal showcase for
Benjamin and Taylor's running counterpoint that glides throughout -- supporting soloists
Kirk and
McDuff. Of the four original
Kirk compositions, "Doin' the Sixty-Eight" is arguably the strongest. The percussive rhythms weave a hypnotic Latin groove over which
Kirk and
McDuff both snake some highly cerebral solos. The stellar interpretation of "Skater's Waltz" combines a well-known traditional melody with some of the most aggressive interaction from the quartet. The tune is put through its paces and the tenor sax/Hammond organ leads bounce around like a game of sonic ping pong. The more aggressive performance style that
Kirk would later incorporate definitely shows signs of development on
Kirk's Work. While certainly not the best in his catalog, it is a touchstone album that captures the early soulful
Rahsaan Roland Kirk.