Kirkofon

I forberedelsene til helgens paper om Rahsaan Roland Kirk er det mengder av løse tråder. Noen er riktig gode. Som når jeg i coveret til I Talk With the Spirits (fra 1964) leser:

“Just as John Cage prepared the piano, Roland has ‘prepared’ himself. He should be looked at, not as a multi-instrumentalist, but as a Kirkophone player. There couldn’t possibly be another like him. He is ‘all music’ as much as little boys are all snips, snails, and puppy dog tails. There is music emanating from his every pore. He is a visual, as well as a musical experience. Three reed instruments, two of his own invention, hang from his neck. A whistle, a siren, a flute, a nose flute, and castanets are all attached to him in some manner. He plays all of these separately, in unison, in three-part harmony and, lately, in counterpoint to himself.”

Det er mer i disse liner notes, men denne beskrivelsen er god – og demonstrerer for meg hvordan også tekster fra albumcovers er sentrale også for en musikk- eller kulturvitenskapelig beskrivelse. Det er også vanskelig, i bakspeilet, å ikke se denne beskrivelsen som en form for, om ikke kyborg, så i det minste en form for symbiose mellom musiker og instrumenter. Der en høyere enhet oppstår. Og i tilfellet Kirk nok mer enn i så mange andre tilfeller, blant annet fordi han så mange ganger spilte tre instrumenter samtidig.

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