The one thing we civilians (non-musicians) feel inclined to envy about those artists and performers we adore, listen to and chronicle in words is their ability to leave us celebratory evidence of their existence, to be enjoyed and inspired by long after their physical departure. So as intricate, fascinating, alternately festive/buoyant and haunting/moody as the 10 tracks on The Drovers Unlimited Orchestra, Vol. 3 is, the even greater gift is to learn about the fascinating life and career of its creator, the legendary, insanely eclectic Chicago based multi-instrumentalist Mike Kirkpatrick.
Kirkpatrick turned his early passions for The Beatles, Charles Mingus, Duke Ellington, AC/DC, Bach and traditional Irish airs into a successful dual career as an educator (Old Town School of Folk Music, Columbia College Chicago) and, among other things, being a member of the Drovers, an Irish folk-rock band that defined North Side hip in the 80s and 90s. As guitarist and multi-instrumentalist, Kirkpatrick – who passed away in 2020 - and the group held court at Chicago bars and on the college circuit in addition to performing in Europe and at ethnic festivals throughout North America. Famed recording engineer Steve Albini produced their psychedelic rock leaning 1995 album Little High Sky Show.
Starting with the haunting Irish flavored march/ballad “The Hidden Track” (a reimagining of a literal hidden track from the Albini album), The Drovers Unlimited Orchestra, Vol. 3 captures the ever-buoyant spirit of the band’s halcyon days, but with a distinctive, adventurous and often explosive jazz fusion twist.
The jazz elements come courtesy of the all-star unit Kirkpatrick assembled at Rax Trax studios, including Billy Harper, a onetime Art Blakey and Max Roach associate who fires up a blazing solo on the boisterous, big bandy jam “Tomorrow, Pt. 1"; legendary Miles Davis and Chick Corea saxman Dave Liebman, who shares his sweet, smoky soul on the tender, wistful ballad “Teardrop Falls” and his peppier percussive side on the African-flavored romp “Moon Fever”; percussionist Billy Hart (Herbie Hancock, Miles Davis, Stan Getz), who brings high octane exotica to the out there mystical bustle of “The Root The Branch and the Bright Morning Star,” a track Kirkpatrick developed with Hart in mind: and onetime Hancock trumpeter Eddie Henderson, who brings a sensual lyrical soulfulness to the spacious, atmospheric reflection “Tomorrow Pt. 2.”
Another key player – who contributes to jumpy Irish delights like “Johnny was a Meter Mechanic” – is fiddler Liz Carroll, the first American composer to receive Ireland’s top cultural award for traditional music. That’s trademark Kirkpatrick, aligning himself with the greatest musicians to the very end of his life. Hopefully, Vol. 3 will allow more folks who missed the Drovers in their heyday to understand his multi-faceted enduring genius – and why his legacy is so important.
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