Roland Kirk is not an imposter, he is the real deal. He is one of those players who can play "free" or "outside" because he can also play inside and within the tradition. There have been many imposters whose playing consists of squeals, honks, and "energy" only, and who have managed to gain notoriety because of fickle critics and some gullible listeners, eventhough what they are doing is nothing more than bullshit.
I think that Kirk is brilliant on this cut. Notice how he never strays from the tradition for too long; no matter how far he goes in the direction of cathartic honks and multiphonics, he always returns to home base with a swinging blues-infused phrase. He always reminds the listener that he knows what he is doing.
A player's intonation can serve a certain purpose. While the great players don't necessarily make a conscious decision to play a little flat or sharp, they may hear what they want to say a certain way because of the mood it can create. Notice how Kirk plays consistently a little on the flat side of the pitch. This highlights the bluesy attitude of his solo, and adds to the rawness and looseness of his playing in general. In case anyone wondered, the percussive sounds at 4:50 are "slap tonguing"; a way of hitting the reed with the tongue while stopping the air stream in short burts.
His playing fits the mood of the piece perfectly; they are calling hogs, after all.
I think that Kirk is brilliant on this cut. Notice how he never strays from the tradition for too long; no matter how far he goes in the direction of cathartic honks and multiphonics, he always returns to home base with a swinging blues-infused phrase. He always reminds the listener that he knows what he is doing.
A player's intonation can serve a certain purpose. While the great players don't necessarily make a conscious decision to play a little flat or sharp, they may hear what they want to say a certain way because of the mood it can create. Notice how Kirk plays consistently a little on the flat side of the pitch. This highlights the bluesy attitude of his solo, and adds to the rawness and looseness of his playing in general. In case anyone wondered, the percussive sounds at 4:50 are "slap tonguing"; a way of hitting the reed with the tongue while stopping the air stream in short burts.
His playing fits the mood of the piece perfectly; they are calling hogs, after all.