Rahsaan Roland Kirk – The Case of the 3 Sided Dream in Audio Color (1975/2021)

Rahsaan Roland Kirk - The Case of the 3 Sided Dream in Audio Color (2021)
Artist: Rahsaan Roland Kirk
Album: The Case of the 3 Sided Dream in Audio Color
Label: Rhino Atlantic
Year Of Release: 1975/2021
Quality: FLAC (tracks)

01. Conversation
02. Bye Bye Blackbird
03. Horses (Monogram / Republic)
04. High Heel Sneakers
05. Dream, Pt. 1
06. Echoes of Privimitive Ohio & Chili Dogs
07. The Entertainer (Done in the Style of the Blues)
08. Freaks for the Festival, Pt. 1
09. Dream, Pt. 2
10. Portrait of Those Beautiful Ladies
11. Dream, Pt. 3
12. The Entertainer
13. Dream, Pt. 4
14. Dream, Pt. 5
15. Portrait of Those Beautiful Ladies (#2)
16. Dream, Pt. 6
17. Freaks for the Festival, Pt. 2
18. Sesroh
19. Bye Bye Blackbird (Alternate Version)
20. Conversation (Alternate Version)
21. Telephone Conversation
22. Three for the Festival (Live at Newport Jazz Festival, 1968)


Perhaps I am an apologist for Rahsaan Roland Kirk, I don’t know. If I am then I should be smacked, because he needed no one to make apologies for him. The Case of the 3-Sided Dream in Audio Color is a case in point. The namby-pamby jazz critics, those “serious” guys who look for every note to be in order before they’ll say anything positive, can shove it on this one. They panned the hell out of it in 1975, claiming it was “indulgent.” Okay. Which Kirk record wasn’t? Excess was always the name of the game for Kirk, but so was the groove, and here on this three-sided double LP, groove is at the heart of everything. Surrounding himself with players like Cornell Dupree, Hugh McCracken, Richard Tee, Hilton Ruiz (whose playing on “Echoes of Primitive Ohio and Chili Dogs” is so greasy, so deliciously dirty it’s enthralling), Steve Gadd, and others from that soul-jazz scene, it’s obvious what you’re gonna get, right? Nope. From his imitations of Miles Davis and John Coltrane on “Bye, Bye, Blackbird” to his screaming, funky read on “High Heel Sneakers” to his Delta-to-New-Orleans version of “The Entertainer,” Kirk is deep in the groove. But the groove he moves through is one that is so large, so universal, deep, and serene, that it transcends all notions of commercialism versus innovation. Bottom line, even with the charming tape-recorded ramblings of his between tunes, this was his concept and it works like a voodoo charm. Here’s one for the revisionists: This record jams. ~ Thom Jurek

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