Roland Kirk - Now Please Don't You Cry, Beautiful Edith

Roland Kirk - Now Please Don't You Cry, Beautiful Edith

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Tenor sax, flute, alto sax, saxello - Roland Kirk  [click here to see more vinyl featuring Roland Kirk]

Bass – Ronald Boykins

Drums – Grady Tate

Piano – Lonnie Smith

Written by Roland Kirk (A1, A3 to B3), Burt Bacharach & Hal David (A2), Billy Taylor (B4)


 

 

1 LP, gatefold jacket by Stoughton Printing Co.

Original analog Master tape : YES

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12'’

Stereo

Studio

Record Press : Quality Record Pressings

Label : Verve Acoustic Sounds Series

Original Label : Verve

Recorded on May 2, 1967 at Van Gelder Studio, Englewood Cliffs, NJ

Engineered by Rudy Van Gelder

Original session produced by Creed Taylor

Reissue produced by Chad Kassem

Remastered by Matthew Lutthans at The Mastering Lab

Lacquer cut by Matthew Lutthans at The Mastering Lab

Liner Notes by Billy Taylor

Cover design by Acy R. Lehman

Photography by Len Weiss

Originally released in June 1967

Reissued in February 2025

 

 

Tracks :

Side A:

  1. Blue Rol
  2. Alfie
  3. Why Don't They Know
  4. Silverlization

Side B:

  1. Fall Out
  2. Now Please Don't You Cry, Beautiful Edith
  3. Stompin' Grounds
  4. It's a Grand Night for Swinging



 

 

Reviews :

“Now Please Don't You Cry, Beautiful Edith (about Kirk's wife) was the first of his all groove sides. Out of ten tunes, Kirk composed eight, of the other two, only one was a recognizable jazz tune ("It's a Grand Night for Swinging" by Billy Taylor, who wrote the liner notes) and the other was a pop tune (Bacharach and David's "Alfie"). Unlike Rip, Rig, and Panic from two years earlier in 1965, this set featured an in-the-pocket rhythm section. Adventure was not the name of the game on this date, feeling was -- and for the job he got some of the finest cats working in the groove jazz idiom: drummer Grady Tate, pianist Lonnie Liston Smith, and bassist Roland Boykins. The record opens with "Blue Rol," a standard blues made more beautiful by Kirk's playing three horns throughout except for his tenor solo and Smith's tough comping in the middle register. "Alfie" is another story. Kirk blows his tenor with the same tonal warmth Ben Webster did by reading the melody faithfully and tenderly adding fills with Smith, slipping around him for subtle accents, adding color and dimension even when he picks up the tempo, which is led by a steaming, hard-swinging Tate. The end of the album is very special as well, as the title track features the only outside playing on the disc, but it feels more like it's honking R&B shouting rather than vanguard invention as it gives way to the gorgeous Latin swing of the melody. Finally, on the Taylor tune, after a breathtaking arpeggio orgy on "Stompin' Grounds" between Kirk and Smith, the elegance of the musician shines through, as Kirk's flute sweeps through the rhythm section, carrying the cut-time number through a bop permutation or two before coming back to the blues in his solo. Smith's pianism here is so light, his touch so quick and fluid, Kirk can't help but cruise over the tune. This was the beginning of the exploration that led listeners to Blacknuss and Boogie Woogie String Along for Real, and it is worth every bit as those two recordings.” AllMusic Review by Thom Jurek


 

Rating: 

AllMusic 4.5 / 5  ,  Discogs 4.44 / 5

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