Roland Kirk, the blind all-round instrumentalist with tenor, stritch and manzello, three saxophones in his mouth all at the same time, and then nose flutes, ocarina, musical boxes and broken glass as well: can that possibly be called jazz?
Listeners and critics alike found it difficult to categorize this musician, a fact that is borne out by the results of the annual Downbeat surveys during the Sixties and Seventies. Be that as it may, his “Domino” album is one of the best-selling jazz LPs of all times, and certainly his best - and that is something all jazz fans agree upon, regardless of their jazz preference.
On this album are Kirk’s own early works which became immensely popular thanks to thrilling live performances: “3-In-1 Without The Oil” (the title refers to the three saxophones in his mouth and is also a play on words about the name of a popular brand of household oil), “Meeting on Termini’s Corner” (in which the delightful dialogue between the piano and tenor sax in the introduction constitutes an homage to the Five Spot Club), and the J. J. Johnson ballad “Lament” are taken along at a cracking pace so completely void of sentimentality.
The splendidly swinging “Domino”, Kirk’s best-known theme, his hit on the flute and stritch, and “Time” demonstrate this man’s broad spectrum. A musician who like none other has been inspired by music from Black Africa and jazz traditions, he followed in the footsteps of Sidney Bechet, Don Bays, and Fats Waller among others.
On this new pressing the angular sounds, octave leaps and changes of rhythm are all remarkably clear, impulsive, communicative and yet wholly transparent. The older jazz fan should hurry to listen at last to “Domino” in all its glory. But be warned! Hurry you must, for younger jazz lovers are crazy about Rahsaan Roland Kirk!

Recording: April 1962 at Nola Penthouse Studios, New York City, by Tommy Nola
Production: Jack Tracy