A Final, Glorious Masterpiece: A Review of The Drovers Unlimited Orchestra, Vol. 3 by The Drovers Unlimited Orchestra

The Drovers Unlimited Orchestra, Vol. 3

The release of “The Drovers Unlimited Orchestra, Vol. 3” marks the posthumous culmination of Mike Kirkpatrick’s exceptional career, a final act of boundless musical creativity that defies categorization. As the last volume in what can only be described as a sonic triptych, the album serves as an exuberant celebration of Kirkpatrick’s genius, one that merges the complexities of jazz, world music, and Irish folk into something entirely new and electrifying. While the world lost this musical visionary far too soon, his artistic legacy is preserved in this final release, showcasing a career that consistently pushed musical boundaries and championed a spirit of unrestrained experimentation.

Mike Kirkpatrick was no stranger to musical innovation. As the leader and creative force behind The Drovers, a Chicago-based band active from the 1980s through the ’90s, he defied genre conventions by blending punk energy with the lyrical traditions of Irish folk music. The result was an intoxicating, often chaotic sound that captivated audiences across the globe. But Kirkpatrick was more than just a bandleader; he was a multi-instrumentalist, composer, educator, and collaborator whose work transcended musical styles. His restless curiosity and collaborative spirit shaped the course of countless musical careers, and his unique approach to sound and rhythm earned him admiration far beyond the confines of his adopted city.

The Drovers Unlimited Orchestra itself represents the zenith of Kirkpatrick’s creative journey. This orchestral endeavour, unlike the rowdy folk-punk stylings of his earlier work, is a refined, yet wildly ambitious project that incorporates jazz, classical, and folk elements in ways never before heard. For Vol. 3, Kirkpatrick enlisted some of the most formidable talents in music, creating a dream team that helped realize his unorthodox vision. This includes revered Irish fiddler Kevin Burke, saxophonist Dave Liebman, and percussion virtuoso Billy Hart, all of whom bring their extraordinary expertise to the recording.

One of the album’s standout features is its seamless blending of genres, each track serving as an homage to the diverse influences that shaped Kirkpatrick’s sound. The opener, “The Hidden Track,” reimagines a song from The Drovers’ 1995 album “Little High Sky Show,” introducing the listener to an ethereal mix of fiddles, tin whistles, and clarinets, setting the stage for the sonic adventure that follows. Kirkpatrick effortlessly fuses traditional folk elements with a jazz-informed sensibility, creating a world where genres are fluid and boundaries are irrelevant. It’s a fitting prelude to an album that takes the listener on an emotional and auditory rollercoaster.

Perhaps the most striking example of Kirkpatrick’s genre-blending genius comes with “Tomorrow Part 1.” This track stands out for its sheer energy, with Billy Harper’s saxophone leading the charge over a lush brass-driven arrangement. The track’s tight control of chaos speaks to Kirkpatrick’s ability to synthesize musical traditions, bringing together everything from the unpredictability of jazz to the emotive force of folk music into something that feels both organic and groundbreaking. Similarly, “Teardrop Falls” is a slow, contemplative piece that channels the emotion of a live performance, with Liebman’s saxophone offering an aching tenderness that evokes the full depth of human emotion.

The album’s eclecticism continues with “Moon Fever,” a track that merges African percussion with traditional Irish bodhrans and a choir of flutes, creating a sonic tapestry rich in texture and atmosphere. It’s here that Kirkpatrick’s ability to blend seemingly disparate elements becomes especially apparent—he takes rhythms from across the globe and shapes them into a cohesive sound that feels both familiar and utterly original. The feeling is being transported to another world, where the borders between musical cultures have disappeared, leaving behind only the pure joy of creation.

Mike Kirkpatrick’s ability to craft songs that combine technical sophistication with deep emotional resonance is further exemplified on tracks like “Johnny Was a Meter Mechanic” and “138 W 19.” Both tracks find Kirkpatrick exploring the every day, infusing them with a sense of whimsy and wonder that makes them resonate with personal meaning. The former, with its quirky title and lively arrangement, showcases Kirkpatrick’s playful side, while the latter feels like a personal tribute to the city of Chicago, a place that played an essential role in shaping his creative voice.

In his final work, Kirkpatrick also pays tribute to his closest collaborators and musical influences. “The Root, The Branch, And the Bright Morning Star” stands as a poignant meditation on the power of community and collaboration. The track, which features percussion from Billy Hart, is a fitting tribute to a musician who made collaboration a central tenet of his creative process. The song is infused with a spiritual sense of connection, grounded in the rhythms and melodies that have sustained Kirkpatrick throughout his life.

Ultimately, “The Drovers Unlimited Orchestra, Vol. 3” encapsulates everything that made Mike Kirkpatrick a remarkable figure in the music world. His fearless embrace of musical experimentation, his love for collaboration, and his unyielding belief in the power of music to transcend boundaries are all in spades. The album is a living testament to a life spent in pursuit of musical excellence. Though Kirkpatrick may no longer be with us, his work will continue to inspire, challenge, and delight for generations to come.

In a career marked by ceaseless innovation, Vol. 3 is the culmination of Mike Kirkpatrick’s life in sound. It’s a masterful piece of music that reveals new layers with every listen, a final offering from an artist whose creativity knew no limits. Mike may have passed but in the extraordinary tracks of “Drovers Unlimited Orchestra, Vol. 3,” his musical spirit is alive, vibrant, and eternal.

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