Slightly Latin, released after one of his greatest albums (Rip, Rig and Panic), was probably derided with the gimmick criticism (but this time coupled with commercialism; what is Blacknuss) – and it's not hard to see why. The opening track, a 2-minute cover of Dionne Warwick's best song, begins with a riotous theme before Kirk starts yelling "WALK IT!" Anyone familiar with the source material, or who came here looking for Latin-inspired jazz, is probably itching to hit the skip button. (The best part: when "Walk On By"'s immortal melody finally appears, Kirk's still yelling, this time aroused into "OH YES!"'s and "MM-HMM!"'s when everything collapses into the climax; maybe enjoying himself too much.) Speaking of, I better make this public service announcement now: this record has nothing to do with Latin jazz! Well, aside from "Juarez," which does have its percussion bounce and peppy theme indebted to the South.
Couple the false start with the loud vocals throughout "Raouf" and "Nothing But the Truth," or how "Shaky Money" has Kirk punishing his saxophones into sounding like bagpipes, or how "Safari" incorporates what sounds like the bandmembers going "woo" in the background, or the existence of the Beatles cover of A Hard Day's Night's "And I Love Her", or what sounds like a baby wailing during one of the many sections of "Ebrauqs" and you can see where the gimmick criticism comes from. (Beatles covers are almost inherently gimmicky.) But again: it's not the mere fact that Kirk speaks in gimmicks, but what he does with them, and also, what other languages he speaks.
Kirk harmonizes with the female vocals throughout "Raouf" to create one of the album's catchiest themes, and his solos on that song are Coltrane-inspired: blistery; worthy of your attention. Elsewhere, "Safari" is one of the album's best songs in its journey from jungle to outer space; the cacophony of sound is only bolstered by the bandmembers vocally tripping out. And the Beatles cover is short and sweet if ultimately inconsequential, driven by congas and providing some respite before "Ebrauqs." Elsewhere, "It's All in the Game" begins with Kirk finally settling down into a calm, and yearning melody over what sounds like a music box; the twinkling sounds eventually drop out and Kirk smoothly transitions into the full band: Edward Mathias plays a delightful bass here, and Horace Parlan provides a prickly solo on piano. Truthfully, of the album's nine cuts, only "Shaky Money"'s skippable.
This record turned 50 this year; no one cared.
I've only heard a bit of this guy's stuff. You make me want to hear more. LOTS more.
His entire discography so far has been hit after hit. I've never seen anything like it, since Ornette Coleman.