ROLAND KIRK - The Inflated Tear (1967-1998) RM | 50 Years Atlantic Records | Atlantic Jazz Gallery | FLAC (tracks+.cue), lossless

The debut recording by Roland Kirk (this was still pre-Rahsaan) on Atlantic Records, the same label that gave us Blacknuss and Volunteered Slavery, is not the blowing fest one might expect upon hearing it for the first time. In fact, producer Joel Dorn and label boss Neshui Ertegun weren't prepared for it either. Kirk had come to Atlantic from Emarcy after recording his swan song for them, the gorgeous Now Please Don't You Cry, Beautiful Edith, in April. In November Kirk decided to take his quartet of pianist Ron Burton, bassist Steve Novosel, and drummer Jimmy Hopps and lead them through a deeply introspective, slightly melancholy program based in the blues and in the groove traditions of the mid-'60s. Kirk himself used the flutes, the strich, the Manzello, whistle, clarinet, saxophones, and more -- the very instruments that had created his individual sound, especially when some of them were played together, and the very things that jazz critics (some of whom later grew to love him) castigated him for. Well, after hearing the restrained and elegantly layered "Black and Crazy Blues," the stunning rendered "Creole Love Call," the knife-deep soul in "The Inflated Tear," and the twisting in the wind lyricism of "Fly by Night," they were convinced -- and rightfully so. Roland Kirk won over the masses with this one too, selling over 10,000 copies in the first year. This is Roland Kirk at his most poised and visionary; his reading of jazz harmony and fickle sonances are nearly without peer. And only Mingus understood Ellington in the way Kirk did. That evidence is here also. If you are looking for a place to start with Kirk, this is it.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     The Black and Crazy Blues 5'59
Rahsaan Roland Kirk
2     A Laugh for Rory 2'47
Rahsaan Roland Kirk
3     The Inflated Tear 4'46
Rahsaan Roland Kirk
4     Creole Love Call 3'45
Duke Ellington
5     Many Blessings 4'36
Rahsaan Roland Kirk
6     A Handful of Fives 2'35
Rahsaan Roland Kirk
7     Fingers in the Wind 5'07
Rahsaan Roland Kirk
8     Fly by Night 4'09
Rahsaan Roland Kirk
9     Lovellevelliloqui 3'59
Rahsaan Roland Kirk
- BONUS TRACKS -    
10     
I'm Glad There Is You 2'13
Jimmy Dorsey / Paul Mertz
Credits :
Bass – Steve Novosel
Drums – Jimmy Hopps
Piano – Ron Burton
Tenor Saxophone, Saxophone [Manzello, Stritch], Clarinet, Flute, Whistle, English Horn, Idiophone [Flexafone] – Roland Kirk

ROLAND KIRK - Volunteered Slavery (1969-2005) Atlantic Masters | FLAC (tracks+.cue), lossless

Before the issue of Blacknuss, Rahsaan Roland Kirk was already exploring ways in which to make soul and R&B rub up against jazz and come out sounding like deep-heart party music. Volunteered Slavery, with its beat/African chanted poetry and post-bop blues ethos was certainly the first strike in the right direction. With a band that included Charles McGhee on trumpet, Dick Griffin on trombone, organist Mickey Tucker, bassist Vernon Martin, drummers Jimmy Hopps and Charles Grady, as well as Sony Brown, Kirk made it work. From the stinging blues call and response of the tile track through the killer modern creative choir jam on "Spirits Up Above" taking a small cue from Archie Shepp's Attica Blues. But it's when Kirk moves into the covers, of "My Cherie Amour," "I Say a Little Prayer," and the Coltrane medley of "Afro Blue," "Lush Life," and "Bessie's Blues," that Kirk sets it all in context: how the simplest melody that makes a record that sells millions and touches people emotionally, can be filled with the same heart as a modal, intricate masterpiece that gets a few thousand people to open up enough that they don't think the same way anymore. For Kirk, this is all part of the black musical experience. Granted, on Volunteered Slavery he's a little more formal than he would be on Blacknuss, but it's the beginning of the vein he's mining. And when the album reaches its end on "Three for the Festival," Kirk proves that he is indeed the master of any music he plays because his sense of harmony, rhythm, and melody comes not only from the masters acknowledged, but also from the collective heart of the people the masters touched. It's just awesome.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Volunteered Slavery 5'43
Rahsaan Roland Kirk
2     Spirits up Above 3'37
Rahsaan Roland Kirk
3     My Cherie Amour 3'20
Henry Cosby / Sylvia Moy / Stevie Wonder
4    Search for the Reason Why 2'07
Rahsaan Roland Kirk
5     I Say a Little Prayer 7'59
Burt Bacharach / Hal David
6     Roland's Opening Remarks 0'41
Rahsaan Roland Kirk
7     One Ton 5'02
Rahsaan Roland Kirk
8     Ovation and Roland's Remarks 1'42
Rahsaan Roland Kirk
9     A Tribute to John Coltrane: Lush Life/Afro-Blue/Bessie's Blues 8'14
John Coltrane / Mongo Santamaría / Billy Strayhorn
10     Three for the Festival 4'23
Rahsaan Roland Kirk
Credits :
Backing Vocals [Vocal Backgrounds] – Roland Kirk Spirit Choir
Bass – Vernon Martin
Drums – Charles Crosby, Jimmy Hopps, Sonny Brown
Piano – Ron Burton
Tenor Saxophone, Flute, Nose Flute, Horns [Mazello, Stritch], Gong, Whistle, Vocals – Roland Kirk
Trombone – Dick Griffin
Trumpet – Charles McGhee

ROLAND KIRK - Left & Right (1969-2002) FLAC (tracks+.cue), lossless

The title of this album, Left and Right, no doubt refers to the sides of Rahsaan Roland Kirk's brain, which were both heavily taxed in the composing, arranging, conducting, and playing of this recording. For starters, the band is huge -- 17 players plus a 16-piece string section, all of it arranged and conducted by Kirk, a blind man. None of this would matter a damn if this weren't such a badass platter. Along with Kirk's usual crew of Ron Burton, Julius Watkins, Dick Griffin, Jimmy Hopps, and Gerald Brown, there are luminaries in the crowd including Alice Coltrane on harp, Pepper Adams on baritone saxophone, and no less than Roy Haynes helping out on the skins. What it all means is this: The man who surprised and outraged everybody on the scene -- as well as blew most away -- was at it again here in "Expansions," his wildly ambitious and swinging post-Coltrane suite, which has "Black Mystery Has Been Revealed" as its prelude. While there are other tracks on this record, this suite is its centerpiece and masterpiece -- despite killer readings of Billy Strayhorn's "A Flower Is a Lovesome Thing" and "Quintessence." "Expansions" has Kirk putting his entire harmonic range on display, and all of the timbral extensions he used in his own playing are charted for a string section to articulate. There are subtleties, of course, which come off as merely tonal variations in extant harmony with the other instruments, but when they are juxtaposed against a portrayal of the entire history of jazz -- from Jelly Roll Morton to the present day -- then they become something else: the storytellers, the timbres, and the chromatic extensions that point in the right direction and get listeners to stop in the right places. This is an extreme for Rahsaan -- extremely brilliant and thoroughly accessible.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Black Mystery Has Been Revealed 1:16
Written-By – Roland Kirk
2    Expansions: (A) Kirkquest, (B) Kingus Mingus, (C) Celestialness, (D) A Dream Of Beauty Reincarnated, (E) Frisco Vibrations, (F) Classical Jazzical, (G) Ellington Psalms, (H) Haynes' Brain's Sayin's, (I) What's Next-Overture 19:35
Written-By – Roland Kirk
3    Lady's Blues 3:44
Written-By – Roland Kirk
4    IX Love 3:38          
Written-By – Charles Mingus
5    Hot Cha 3:21
Written-By – Willie Woods
6    Quintessence 4:10
Written-By – Quincy Jones
7    I Waited For You 2:52
Written-By – Dizzy Gillespie, Gil Fuller
8    A Flower Is A Lovesome Thing 3:56
Written-By – Billy Strayhorn
Credits :
Arranged By [String Section] – Gilbert Fuller (pistas: 3 to 8)
Baritone Saxophone – Pepper Adams (pistas: 2)
Bass – Vernon Martin (pistas: 2 to 8)
Bass Trombone – Benny Powell (pistas: 2)
Bassoon – Daniel Jones (pistas: 2)
Celesta, Thumb Piano, Instruments [Small Instruments] – Roland Kirk (pistas: 2)
Clarinet, Organ, Narrator – Roland Kirk (pistas: 1)
Drums – Jimmy Hopps (pistas: 2), Roy Haynes (pistas: 3 to 8)
Flute – Roland Kirk (pistas: 2, 3)
French Horn – James Buffington (pistas: 3 to 8), Julius Watkins (pistas: 3 to 8)
Harp – Alice Coltrane (pistas: 2)
Horns [Manzello] – Roland Kirk (pistas: 2, 5, 6)
Horns [Stritch] – Roland Kirk (pistas: 2, 8)
Percussion – Gerald Brown (pistas: 2), Warren Smith (pistas: 2 to 8)
Piano – Ron Burton (pistas: 2 to 8)
Strings – Alfred Brown (pistas: 1, 3 to 8), Anthony Sophos (pistas: 1, 3 to 8), Charles McCracken (pistas: 1, 3 to 8), Gene Orloff (pistas: 1, 3 to 8), George Ockner (pistas: 1, 3 to 8), Harold Furmansky (pistas: 1, 3 to 8), James Buffington* (pistas: 1, 3 to 8), Joseph Malignaggi (pistas: 1, 3 to 8), Julien Barber (pistas: 1, 3 to 8), Leo Kruczek (pistas: 1, 3 to 8), Matthew Raimondi (pistas: 1, 3 to 8), Noel Dacosta (pistas: 1, 3 to 8), Richard Elias (pistas: 1, 3 to 8), Sanford Allen (pistas: 1, 3 to 8), Selwart Clarke (pistas: 1, 3 to 8), Winston Collymore (pistas: 1, 3 to 8)
Tenor Saxophone – Roland Kirk (pistas: 2, 4, 5, 7)
Trombone – Dick Griffin (pistas: 2)
Trumpet – Richard Williams (pistas: 2)
Vibraphone [Vibes], Percussion – Warren Smith (pistas: 3 to 8)
Woodwind – Frank Wess (pistas: 3 to 8)

RAHSAAN ROLAND KIRK - I, Eye, Aye : Live at the Montreux Jazz Festival, 1972 (1972-1996) RM | Atlantic Jazz Gallery | FLAC (tracks+.cue), lossless

This live recording is a companion to a documentary called The One Man Twins. Released for the first time in 1996, both audio and video gives both fans and the uninitiated a glimpse of the century's most colorful performers and most complex jazz musicians. Kirk's band for the date was comprised of pianist Ron Burton, bassist Henry "Pete" Pearson, drummer Robert Shy, and percussionist Joe Texidor. Only Burton and Texidor were Kirk regulars. The set is absolutely electrifying. From the few short raps Kirk offers the crowd, one cannot be prepared for the honking, shouting, funky, gritty sets that follow. Kirk begins with "Seasons," a careening rush of flute acrobatics, and on into a deeply moving rendition of "Balm in Gilead," where Kirk evokes the spirit of Paul Robeson, and then into arguably the greatest version of "Volunteered Slavery" on record, a slamming R&B stomp of literally epic proportions, where Kirk uses each of his horns and starts blowing different notes on each simultaneously. There is a gorgeous solo medley where Kirk combines Ellington's "Satin Doll" and an improvisation on its two themes and comes up with something completely new, yet reverentially sound. The set ends with "Serenade to a Cuckoo," which moves across scalar dimensions and tonal registers with a deep, funky grace, and finally, "Pedal Up," a standard Kirk crowd-pleaser that brings all of his elements -- the spectral, the spiritual, and the carnal -- into full play. The band, with new players, can barely keep up with Kirk, but Burton keeps them right in line with the master's shifts in mood, mode, and tempo while keeping the entire gig harmonically on course no matter which instrument Kirk chooses to play. This is a hell of an introduction to one of the least-understood figures in jazz history, and an absolute necessity for fans.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Rahsaantalk, No. 1 0:38
Rahsaan Roland Kirk
2     Seasons 6:00
Rahsaan Roland Kirk
3     Rahsaantalk, No. 2 1:12
Rahsaan Roland Kirk
4     Balm in Gilead 7:05
Traditional
5     Volunteered Slavery 10:20
Rahsaan Roland Kirk
6     Rahsaantalk, No. 3 0:24
Rahsaan Roland Kirk
7     Blue Rol, No. 2 9:04
Rahsaan Roland Kirk
8     Solo Piece: Satin Doll/Improvisation 4:19
Duke Ellington / Rahsaan Roland Kirk
9     Serenade to a Cuckoo 3:28
Rahsaan Roland Kirk
10     Pedal Up 6:11
Rahsaan Roland Kirk
Credits :
Bass – Henry "Pete" Pearson
Drums – Robert Shy
Percussion – Joe "Habao" Texidor
Piano – Ron Burton
Tenor Saxophone, Saxophone [Manzello], Saxophone [Stritch], Clarinet, Flute, Nose Flute, Siren, Performer [Other Stuff] – Rahsaan Roland Kirk

RAHSAAN ROLAND KIRK - Prepare Thyself To Deal With a Miracle (1973-2002) FLAC (tracks+.cue), lossless

Recorded in 1973, this is yet another criminally underappreciated Rahsaan Roland Kirk recording from the last phase of a remarkable career. This is perhaps Kirk's most experimental recording in that it involves his most involved performing on multiple horns and flutes -- including his infamous and wonderful nose flute -- and working with drones on a more surface level. Given Kirk's system of playing three horns at once, the drone horn was always a part of his sonic architecture. The difference here is that the melodic and improvisational lines take a back seat on tunes such as the opening "Salvation and Reminiscing," where he makes fantastic use of a baby E-flat saxophone, and on "Celestial Bliss," on which he is accompanied on his "black mystery pipes" only by percussion. On the medley "Seasons: One Mind Winter/Summer/Ninth Ghost," Kirk begins with the nose flutes, playing a part of "Balm in Gilead," before bringing in a six-piece string orchestra to play behind him as he improvises on all the melodies and modes. And this improvisation is not just a series of out arpeggios playing legato and running through and over the changes, but intricately nuanced, gentle, and architecturally sophisticated wanderings. Despite the beauty of the album's first three tracks, it is on the closer, the 21-and-a-half-minute "Saxophone Concerto," where Kirk most leaves his mark as a composer and innovator on the jazz world. Kirk comes out blowing literally like a train and weaves in, with vocalists Jeanne Lee and Dee Dee Bridgewater, a series of muted horn lines and rhythm figures. The band is 16 pieces total, and the concerto is structured in movements from an intro in which the purpose is stated: "time for America to discover some of its true Black miracles," wherein bebop and hard bop shimmy up against free modes and articulations by the rhythm section and the other horns. Kirk may solo on top with his tenor, but he holds close to the rhythm section's articulation of mutated blues. From here, Latin and faux classical chromatics are shaded into the whole as the pace becomes more and more frenetic, and just as the piece becomes perhaps circus-like, Kirk and company strip it all back and out, into a free universe washed by improvising vocalists, crashing cymbals, droning brass, and rumbling tom-toms before it's all a hush of unidentifiable sounds except for those of breaking glass. There are numerous metaphors and metonyms here, but they will not come to the listener until later, when she or he regains the conscious notion of breathing.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Salvation And Reminiscing 5:14
Backing Vocals – Dee Dee Bridgewater, Jeanne Lee
Clarinet – Rahsaan Roland Kirk
Conductor – Dick Griffin
Seasons (10:32)
Nose Flute, Flute – Rahsaan Roland Kirk
2a    One Mind Winter/Summer    
2b    Ninth Ghost    
3    Celestial Bliss 5:47
Backing Vocals – Dee Dee Bridgewater, Jeanne Lee
Performer [Black Mystery Pipes], Saxophone [Baby E Flat] – Rahsaan Roland Kirk
Saxophone Concerto (21:31)
Backing Vocals – Jeanne Lee
Tenor Saxophone – Rahsaan Roland Kirk
4a    Saxophone Miracle    
4b    One Breath Beyond    
4c    Dance Of Revolution
Credits :
Arranged By [Strings] – Rahsaan Roland Kirk
Bass – Henry Pearson
Cello – Kermit Moore
Drums – Robert Shy
English Horn, Oboe – Harry Smiles
Percussion – Ralph MacDonald, Sonny Brown
Piano – Ron Burton
Trombone – Dick Griffin
Trumpet – Charles McGhee
Viola – Al Brown
Violin – Gayle Dixon, Julien Barber, Sanford Allen, Selwart Clarke
Written-By – Rahsaan Roland Kirk

ROLAND KIRK - Live In Paris 1970 Vol. 1 & 2 (1970-1988) 2CD | FLAC (tracks+.cue), lossless

Roland Kirk – Live In Paris 1970 Vol. 1
1    Easy To Love 9:35
Composed By – Cole Porter
2    Love Madeline 4:22
Composed By – R. Kirk
3    My Cherie Amour 5:30
Composed By – S. Wonder
4    Petite Fleur 7:42
Composed By – S. Bechet
5    Inflated Tear 5:20
Composed By – R. Kirk
6    Three For The Festival 7:40
Composed By – R. Kirk
7    Boogie Man Song 6:50
Composed By – R. Kirk
Roland Kirk – Live In Paris, 1970 Vol. 2
1    Sweet Fire    16:26
Composed By – Roland Kirk
2    Make Me A Pallet On The Floor 8:52
Traditional / Arranged By – Roland Kirk
3    Charlie Parker Medley 6:51
Composed By – Charlie Parker
4    Volunteer Slavery    11:41
Composed By – Roland Kirk
5    You Did It, You Did It    5:00
Composed By – Roland Kirk
6    Satin Doll 1:46
Composed By – Duke Ellington
Credits :
Bass – Vernon Martin
Drums – Jerome Cooper
Percussion – Joe Texidor
Piano – Ron Burton
Saxophone, Flute – Roland Kirk

RAHSAAN ROLAND KIRK - Bright Moments (1974-1993) 2CD | RM | Atlantic Jazz Gallery | FLAC (tracks+.cue), lossless

Rahsaan Roland Kirk's live club gigs were usually engaging, freewheeling affairs, full of good humor and a fantastically wide range of music. The double album Bright Moments (reissued as a double CD) is a near-definitive document of the Kirk live experience, and his greatest album of the '70s. The extroverted Kirk was in his element in front of an audience, always chatting, explaining his concepts, and recounting bits of jazz history. Even if some of his long, jive-talking intros can sound a little dated today, it's clear in the outcome of the music that Kirk fed voraciously off the energy of the room. Most of the tracks are long (seven minutes or more), demonstrating Kirk's wealth of soloing ideas in a variety of styles (and, naturally, on a variety of instruments). "Pedal Up" is a jaw-dropping demonstration of Kirk's never-duplicated three-horns-at-once technique, including plenty of unaccompanied passages that simply sound impossible. There's more quintessential Kirk weirdness on "Fly Town Nose Blues," which heavily features an instrument called the nose flute, and the title track has a healthy dose of Kirk singing through his (traditional) flute. His repertoire is typically eclectic: Ellington's "Prelude to a Kiss"; a groovy Bacharach pop tune in "You'll Never Get to Heaven"; a lovely version of Fats Waller's "Jitterbug Waltz"; and a stomping, exultant New Orleans-style original, "Dem Red Beans and Rice." Perhaps the best, however, is an impassioned rendition of the ballad standard "If I Loved You," where Kirk's viscerally raw, honking tone hints in a roundabout way at the avant-garde without ever losing its melodic foundation. Bright Moments empties all the major items out of Kirk's bag of tricks, providing a neat microcosm of his talents and displaying a consummate and knowledgeable showman. In short, it's nothing less than a tour de force. Steve Huey  
Tracklist 1 :
1     Introduction 2:06
Rahsaan Roland Kirk    
2     Pedal Up 11:52
Rahsaan Roland Kirk    
3     You'll Never Get to Heaven (If You Break My Heart) 9:48
Burt Bacharach / Hal David
4    Clickety Clack 2:30
Rahsaan Roland Kirk
5     Prelude to a Kiss 5:05
Duke Ellington / Irving Gordon / Irving Mills
6     Talk (Electric Nose) 2:33
Rahsaan Roland Kirk
7     Fly Town Nose Blues 8:52
Rahsaan Roland Kirk
Tracklist 2 :    
1     Talk (Bright Moments) 3:30
Rahsaan Roland Kirk
2     Bright Moments 10:02
Rahsaan Roland Kirk
3     Dem Red Beans and Rice 7:05
Rahsaan Roland Kirk
4     If I Loved You 8:50
Oscar Hammerstein II / Richard Rodgers
5     Talk (Fats Waller) 1:30
Rahsaan Roland Kirk / Fats Waller
6     Jitterbug Waltz 7:00
Richard Maltby, Jr. / Fats Waller    
7     Second Line Jump 1:30
Rahsaan Roland Kirk
Credits :
Bass – Henry Pearson
Drums – Robert Shy
Flute, Tenor Saxophone, Nose Flute, Liner Notes – Rahsaan Roland Kirk
Percussion – Joe Habao
Piano – Ron Burton
Synthesizer, Tambourine – Todd Barkan

RAHSAAN ROLAND KIRK - Brotherman in the Fatherland (2006) FLAC (tracks+.cue), lossless

It's very tempting to go off on Joel Dorn for his decision to call a Rahsaan Roland Kirk record recorded live in Germany Brotherman in the Fatherland. Dorn's had questionable taste about all kinds of things since he began running record labels that have had numerous names attached to them -- Kirk's music is not one of them. This gig, recorded in 1972, is one of those seemingly out-of-nowhere moments when Kirk, struggling to make a living, took it to the audience full-force. He was accompanied on this tour by longtime pianist Ron Burton, bassist Henry Pearson, drummer Richie Goldberg (who did a long stint with Ray Charles) and Joe Texudor on assorted percussion. The program is pure magic: from "Like Sony" to a bad-ass reworking of the insipid Bread tune "Make It with You," that Kirk turns into pure outre blues soul-jazz, and that's just the beginning. "Rahsaan's Spirit" is the place where Kirk spins off into his own universe with the band -- Burton's solo here is particularly telling as the members all solo. Kirk brings it back to a deeply soulful read of "My Girl" with a piano intro that sounds a lot like Roy Bittan's from Bruce Springsteen's "Thunder Road," but it was a couple of years ahead of that milestone. Kirk's nose flute hints the melody line before his flute takes over and runs the melody down to its root; he plays them simultaneously and even vocalizes, à la Charles. The swinging Ramsey Lewis-styled soul riffing gives the audience something else to hold onto before the doors come off with "Seasons/Serenade to a Cuckoo" that digs even deeper as it streams into "Pedals Up," a musically tender reading of "Lush Life," before it all melts down into Coltrane's "Afro Blue" with Kirk on all horns peeling the paint; there's only a brief respite before it goes all the way into jazz heaven with a deeply swinging, blues-drenched crazyland reading of "Blue Trane." Like his best live outings -- this one doesn't have the same sound quality as Bright Moments -- this one is simply astonishing in its intensity, soul, and acumen. One can only wonder when hearing the polite applause at the end of the gig (instead of the justifiable shouting and screaming that should've been there) if the German crowd were just blown away, or confused. Listeners, too, may wonder if they can believe what has just transpired in the space of an hour. They can. Dorn may be on the questionable side in naming this recording, but he's to be thanked for issuing it.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Intro / Like Sonny 8:34
Written-By – John Coltrane
2    Make It With You 5:39
Written-By – David Gates
3    Rahsaan's Spirit    7:05
4    My Girl 5:15
Written-By – Ronald White, Smokey Robinson
5    Seasons / Serenade To A Cuckoo 6:54
Written-By – Roland Kirk
6    Pedal Up    10:21
7    Lush Life 3:12
Written-By – Billy Strayhorn
8    Afro Blue 4:04
Arranged By – John Coltrane
Composed By – Mongo Santamaria
9    Blue Train 17:31
Written-By – John Coltrane
Credits :
Double Bass – Henry Pete Pearson "Mettathias"
Drums – Richie Goldberg
Ensemble – Rahsaan Roland Kirk & The Vibration Society
Percussion – Joe "Habao" Texidor
Piano – Ron Burton
Saxophone [Tenor, Manzello, Stritch], Flute, Flute [Nose], Clarinet – Rahsaan Roland Kirk