Archie Shepp - Lady Bird (1978)

One of the best records from Shepp's "new tradition" late 70's period devoted to the exploration of Charlie Parker. The album features extended readings of tracks that are either Parker originals, or which were strongly associated with him - and titles include "Donna Lee", "Lady Bird", "Now's The Time", and "Relaxin At Camarillo". Shepp's actually right at home in this setting, and his "out" background really brings a new twist to a traditional understanding of Bird. The rest of the group is made up of Jaki Byard, Cecil Mc Bee, and Roy Haynes.  © Dusty Groove, Inc. 

Denon Records, DC-8546, 1989
Recorded 7th December, 1978 at Sound Ideas Studio, New York City 

Musicians:
Archie Shepp - Alto Saxophone
Jaki Byard - Piano
Cecil McBee - Bass
Roy Haynes - Drums

Tracks:
1. Donna Lee {Charlie Parker} (6:37)
2. Relaxin' At Camarillo {Charlie Parker} (7:18)
3. Now's The Time {Charlie Parker} (7:49)
4. Lady Bird {Tadd Dameron} (7:51)
5. Flamingo {Ed Anderson, Ted Grouya} (12:30) 

Total Time: 42:07 

Very good album by Archie Shepp
Atypical album where Archie Shepp plays only the alto, well supported by pianist Jackie Byard, Cecil McBee on bass and Roy Haynes on drums. It is a quality recording, as always with the Japanese label Denon, although a little short (42 min) which includes 3 tunes by Charlie Parker, (notably a beautiful version of "Relaxin' at Camarillo" as well as "Now's the time"), a tune by Tadd Dameron ("Lady bird") and above all a real little gem: an admirable version of "Flamingo" by Ed Anderson of more than 12 min which is worth, on its own, the acquisition of this rare and expensive album... ~ L. Pierre, 4.0 Stars, Amazon.com. [Translated From French] 

Relaxin' At Camarillo

Archie Shepp - A Sea Of Faces (1975)

Although this performance from 1975 was known and appreciated by the then fans, some jazz critics, lamenting at the evolution of Shepp's music (thought to deviate from the royal road of politico-musical correctness), have failed to notice its remarkable qualities. While I agree with those connoisseurs that some details in this recording are less inspiring (Burrell's piano solo on "Hipnosis", Shepp's own piano playing on "I Know 'Bout The Life", etc.), such criticisms virtually fade into nothing when you allow yourself to be carried away by the 25 minute "Hipnosis" (Grachan Moncur's obsessive theme). It offers one of the darkest, most exciting and sweeping tenor sax explorations to be found on Shepp's recordings (along with "Yasmina A Black Woman" and the now untraceable "Coral Rock" from the late sixties), intense and devoid of clichés. This Millésime [Great Vintage] of Shepp may have become somewhat less acid, less fatty in the mouth and (whether you like it or not) more reconciled with tradition than the Impulse years' venturer. But the man is at the height of his powers here, not the captive of any one idiom but at home in many, including 'free'. Most of the time the music swings heavily and irresistibly. Shepp doesn't reduce his fellow musicians to the status of bystanders here. Bunny Foy is an excellent vocalist (on "Song For Mozambique" and "I Know 'Bout The Life"), Charles Greenlee takes an exciting trombone solo on "Hipnosis", Cameron Brown on bass is outstanding throughout. ~ by Paul Cortois, Amazon.com. 

Black Saint, 120002-2, 1993
Recorded 4th-5th August, 1975 at Phonogram Studios, Milano, Italy 

Musicians:
Archie Shepp - Tenor (#1,4), Soprano (#2), Piano (#3), Vocals (#2)
Charles Greenlee - Trombone (#1,3,4), Tambourine (#1), Vocals (#2)
Dave Burrell - Piano (#1,2,4)
Cameron Brown - Double Bass
Beaver Harris - Drums (#1,3,4), Tambourine, Vocals (#2)
Bunny Foy - Maracas (#1), Vocals (#2,3)
Rafi Taha - Vocals (#2) 

Tracks:
1. Hipnosis {Grachan Moncour III} (26:19)
2. Song For Mozambique /
    Poem: A Sea Of Faces {Semenya McCord, Archie Shepp} (8:12)
3. I Know About The Life {Archie Shepp, Aishah Rahman} (5:28)
4. Lookin' For Someone To Love {Cal Massey} (9:38) 

Total Time: 49:38 

Credits:
Producer - Giacomo Pellicciotti
Recording Engineer - Pino Ciancioso
Cover Design - Ariel Soule
Liner Photos - Giuseppe Pino

Archie Shepp Quartet - Live In Stuttgart {MKV} (1990)

A recording taken from the 6th International Theaterhaus Jazz Days 1990 held in Stuttgart. A wonderful concert capturing the then Archie Shepp Quartet in action. The broadcast enables the quartet to showcase four great tunes, two Duke Ellington numbers, a Cal Massy piece and one of Shepp’s own tunes; included is a short interview giving some insight to Archie’s philosophy on Jazz and Black Music. He leads his quartet playing both soprano and tenor saxes as well as some singing on “Mama Rose”. He is joined by the fantastic pianist Horace Parlan who sets out some vibrant solos. On bass is Wayne Dockery again like Horace gets a few of opportunities to demonstrate his skills. Last but not least is the energetic drummer Marvin “Smitty” Smith who clearly keeps the rhythm on a roll. The show was released on DVD which I converted to MKV for ease of upload, Enjoy! 

Recorded 14th April, 1990 At "Theaterhaus Jazztage", Stuttgart, Germany 

Musicians:
Archie Shepp - Soprano Sax, Tenor Sax, Vocals
Horace Parlan - Piano
Wayne Dockery - Bass
Marvin "Smitty" Smith - Drums 

Tracks:
1. TV Intro (0:30)
2. I Got It Bad [And That Ain't Good] {Duke Ellington, Ben Webster} (13:10)
3. Mama Rose {Calvin Massey} (11:45)
4. Dedication To Bessie Smith Blues {Archie Shepp} (13:26)
5. Interview with Archie Shepp [German subtitles] (3:22)
6. Sophisticated Lady {Duke Ellington} (10:40) 

Total Time: 55:16 

Notes:
Television Broadcast, 22nd December, 1990
Lineage: SW3 TV Broadcast > DVD > MKV
© Süddeutscher Rundfunk Stuttgart - SDR 1990

Archie Shepp - Coral Rock (1970)

Coral Rock features an absolutely monster free jazz lineup. Fans of other releases on America or the BYG Actuel series should be familiar with a number of these sidemen: Bobby Few, Clifford Thornton, Muhammad Ali, Joseph Jarman. Particularly of interest, though, might be the under-recorded Alan Shorter, who contributed the title track. This piece is especially reminiscent of "Mephistopheles," a tune that appeared (in different capacities) on his brother Wayne's similarly great Blue Note LP The All Seeing Eye and certain reissue pressings of the self-titled Marion Brown record on ESP. Like "Mephistopheles," "Coral Rock" features a lumbering, march-like bassline and incredibly dissonant head. "Coral Rock," however, is much looser and, for this reason, it would be difficult to imagine it on a Blue Note release of any kind. This is free jazz straight out of the late-'60s/early-'70s Paris scene. Very serious stuff. That having been said, the inclusion of the standard "I Should Care" may come as a surprise, but one should keep in mind that no matter how far out Archie Shepp got, his roots have always been firmly planted in the past. It is seemingly presented here more as a vehicle for pianist Bobby Few than anything else and, within Shepp's catalog, might be compared to the free blues of "Damn If I Know (The Stroller)" from his 1968 Impulse LP, The Way Ahead. This session was reissued in the States by Prestige. ~ by Brandon Burke, AMG.

America Records, 30 AM 6103, 1970

Prestige Records, PRST 10066, 1973

Recorded 23^rd July, 1970 At Studio Decca, Paris, France

Musicians:

Archie Shepp - Tenor Saxophone, Piano

Lester Bowie - Trumpet

Al Shorter - Flugelhorn

Clifford Thornton - Valve Trombone

Bobby Few - Piano

Bob Reid - Bass

Mohamed Ali - Drums

Ostaine Blue Warner - Percussion

Djibrill - Conga Drums

Tracks:

A. Coral Rock {Alan Shorter} (22:09)

B. I Should Care {Axel Stordahl, Paul Weston, Sammy Cahn} (14:05)

Total Time: 36:14

Credits:

Producer - Pierre Berjot

Photography - Gilbert Moreau

Sleeve Notes - Valerie Wilmer

Archie Shepp - Black Gipsy (1969)

Black Gipsy is an interesting album, not just because it's one of the very few dates where Archie Shepp plays soprano exclusively, but because the album also features a harmonica player, Leroy Jenkins on viola, and a vocalist named Chicago Beauchamp (aka Chicago Beau), who also performed with the Art Ensemble of Chicago and Jimmy Dawkins. This is in addition to Clifford Thornton, Noah Howard, Sunny Murray, and the great Dave Burrell on piano. On "Black Gipsy," after an intro by Jenkins, Murray and bassist Earl Freeman set up a powerful martial groove, pushed by Burrell's lowend piano work. The horns and harmonica use this as a launching point, while Chicago Beauchamp sporadically spouts his street poetry. "Epitaph of a Small Winner" is something of a travelogue suite, starting in Rio de Janeiro with a light, upbeat melody. Casablanca is next, where the proceedings become a bit mellower and mysterious, then it's on to a near bluesy romp for the last stop in Chicago. This music gets intense, but melody is always at its core: this is not just a free blowing session. The rhythm section keeps things well grounded, aided greatly by Burrell's marvelous comping while the horns and harmonica take the melodies and run with them. Good stuff. ~ Extract by Sean Westergaard, AMG.

America Records, 30 AM 6099, 1970

Prestige Records, PRST 10034, 1972

Recorded 9^th November, 1969 At Decca Studios, Paris, France

Personnel:

Archie Shepp - Soprano Saxophone

Clifford Thornton - Trumpet

Noah Howard - Alto Saxophone

Julio Finn - Harmonica

Dave Burrell - Piano

Leroy Jenkins - Viola

Earl Freeman - Double Bass

Sonny Murray - Drums

Chicago Beauchamp - Vocals

Tracks:

A. Black Gipsy {Augustus Arnold, Chicago Beauchamp} (25:37)

Epitaph Of A Small Winner {Chicago Beauchamp, Julio Finn} (22:34)

B1. Rio De Janeiro

B2. Casablanca

B3. Chicago

Total Time: 48:11

Credits:

Producer - Pierre Berjot

Photography - Gilbert Moreau

Liner Notes - Chicago Beauchamp, Julio Finn

Archie Shepp - Body And Soul (1975) [vinyl>flac]

Another great LP by Archie Shepp when working in Rome, Italy in 1975.

HORO Records, HZ 10, 1978

Recorded 28^th September (#A2,B) and 16^th October (#A1), 1975 in Rome, Italy

Musicians:

Archie Shepp - Tenor Saxophone

Cicci Santucci - Trumpet (#A2)

Charles Greenlee - Trombone (#A2,B)

Irio De Paula - Guitar (#A1,A2)

Dave Burrell - Piano (#B)

David Williams - Bass (#B)

Alessio Urso - Bass (#A2)

Beaver Harris - Drums (#B)

Afonso Vieira - Drums (#A2)

------------------------------------------------------------------------------------

Tracks:

A1. Body And Soul {Johnny Green, Robert Sour, Edward Heyman, Frank Eyton} (8:19)

A2. Tropical {Irio De Paula, Alessio Urso, Afonso Viera} (8:46)

B. Dogon {Archie Shepp} (18:23)

Credits:

Producer - Aldo Sinesio

Assistant Producer - Gianni Gualberto

Recording Engineer - Raimondo Caruana (#A1-A2), Giorgio Loviscek (#B)

Cover Art - Maria Teresa Ortolan

Photography - Isio Saba

Liner Notes - Marco Cristostomi [Italian]

Note:

#A1 from Mariamar Session released on [Horo HZ 01]

#A2,B from the same session released as Jazz A Confronto [Horo HLL 101-27]

Archie Shepp - For Losers (1968+1969) [vinyl]

One of the grooviest albums from Archie Shepp's post-new thing years for Impulse - a nicely grooving session that mixes soul-based tracks with more righteous spiritual jazz moments! The approach here is a nicely varied - a laidback, collaborative spirit that's even quite different from Shepp's work in France at the time, or even from some of his other sessions for Impulse. At one moment, Archie's playing in a gently spare and soulful mode - foreshadowing his late 70s sides - but at another, he'll be opening up with intensity, egged on by a group of well-matched players who include Woody Shaw, Grachan Moncur III, James Spaulding, and Cedar Walton. Side 2 features the extended "Un Croque Monsieur" - a modally building number with some free post-Coltrane energy, and a righteous poem from Chinalin Sharpe. Sharpe returns in a completely different spirit on "I Got It Bad" - singing the lyrics in a Billie Holiday mode alongside Shepp's solo - and Leon Thomas sings on the soul-based number "Stick Em Up", again very different than usual! Titles also include a great version of Cal Massey's "What Would It Be Without You" and the funky groover "Abstract". © Dusty Groove, Inc.

Impulse! Records, AS-9188, 1970

Recorded 9^th September, 1968 (#A1) at RCA Studios, New York City

Recorded 17^th February, 1969 (#A2) at RCA Studios, New York City

Recorded 26^th August, 1969 (#A3,A4,B) at RCA Studios, New York City

Personnel:

A1. Stick 'Em Up {Archie Shepp} (2:05)

Archie Shepp - Tenor Saxophone

Robin Kenyatta - Alto Saxophone

Grachan Moncur III - Trombone

Martin Banks - Trumpet, Flugelhorn

Andrew Bey - Piano

Mel Brown - Organ, Guitar

Bert Payne - Guitar

Albert Winston - Fender Bass

Wilton Felder - Fender Bass

Beaver Harris - Drums

Doris Troy - Vocals

Leon Thomas - Vocals

Tasha Thomas - Vocals

A2. Abstract {Archie Shepp} (4:21)

Archie Shepp - Tenor Saxophone

James Spaulding - Alto Saxophone

Charles Davis - Baritone Saxophone

Grachan Moncur III - Trombone

Jimmy Owens - Trumpet, Flugelhorn

Wally Richardson - Guitar

Dave Burrell - Organ

Bob Bushnell - Fender Bass

Bernard Purdie - Drums

A3. I Got It Bad [And That Ain't Good] {Duke Ellington, Paul Webster} (5:15)

Archie Shepp - Tenor Saxophone, Soprano Saxophone

Clarence Sharpe - Alto Saxophone

Cedar Walton - Piano

Wilbur Sharpe - Bass

Joe Chambers - Drums

Chinalin Sharpe - Vocals

A4. What Would It Be Without You {Cal Massey} (4:05)

Archie Shepp - Tenor Saxophone, Soprano Saxophone

Cecil Payne - Baritone Saxophone, Flute

Cedar Walton - Piano

Wilbur Sharpe - Bass

Joe Chambers - Drums

B. Un Croque Monsieur [Poem: For Losers] {Archie Shepp} (21:47)

Archie Shepp - Tenor Saxophone, Soprano Saxophone

Cecil Payne - Baritone Saxophone

Clarence Sharpe - Alto Saxophone

Woody Shaw - Trumpet

Matthew Gee - Trombone

Cedar Walton - Piano

Wilbur Sharpe - Bass

Joe Chambers - Drums

Chinalin Sharpe - Vocals

Credits:

Producer - Ed Michel

Supervision - Bob Thiele (#A1,A2), Ed Michel (#A4,A4,B)

Artwork Design - George Whiteman

Photography - Chuck Stewart

Liner Notes - Archie Shepp

Tracklist:

A1. Stick 'Em Up {Archie Shepp} (2:05)

A2. Abstract {Archie Shepp} (4:21)

A3. I Got It Bad [And That Ain't Good] {Duke Ellington, Paul Webster} (5:15)

A4. What Would It Be Without You {Cal Massey} (4:06)

B. Un Croque Monsieur [Poem: For Losers] {Archie Shepp} (21:47)

At the time this record was recorded, Shepp was bouncing back and forth between Paris and New York. He also bounced between the Impulse! and BYG labels. He also bounced between styles. For BYG, his music reached to grasp the bare beginnings of black music, back to Africa and the blues. His music for Impulse! tried to embrace the contemporary sounds of R&B, with very mixed results that to this day divide his fans. This record is a transitional one. For the traditionalists, there's his shattering and amusing cover of "I've Got It Bad" performed by the usual suspects one would think to find on an Archie Shepp record, including Cecil Payne and Joe Chambers. For those enraptured by albums like Attica Blues, songs like "Stick 'Em Up" will fascinate, as Shepp's raspy tenor is joined not only by a legion of avant-garde brethren (including names like Beaver Harris and Grachan Moncur), but also by the funky wood of electric bass, guitar, and organ. Some will find those later tracks a bit hard to take. Some will even find themselves snickering. But for anyone wishing to understand the music and career of this brilliant musician, this is an undervalued piece of the puzzle. ~ Rob Ferrier, AMG.

Archie Shepp, Lars Gullin Quartet - The House I Live In (1963)

This is a fascinating release. Tenor-saxophonist Archie Shepp would not burst upon the U.S. avant-garde scene until 1964-65 but here he is featured at a Danish concert with the great coolbop baritonist Lars Gullin and a top-notch straightahead rhythm section (pianist Tete Montoliu, bassist Niels Pedersen and drummer Alex Riel). The quintet stretches out on four lengthy standards (including "Sweet Georgia Brown" and a 19-minute rendition of "You Stepped out of a Dream") and it is particularly interesting to hear the reactions of the other musicians to Shepp's rather free flights; at a couple of points Gullin tries to copy him; an important historical release. ~ by Scott Yanow, AMG.

Nearly four decades have passed since this nightclub date in Copenhagen was recorded, and I still haven’t caught up with Archie Shepp. Perhaps I never will. Shepp, who never met a squeak, squawk, grunt or growl he didn’t like, is paired with Sweden’s Lars Gullin, one of the most restrained and lyrical baritone saxophonists of his era. How they ever got together is a mystery to me. Talk about your odd couples! On the one hand we have Gullin, struggling to stay somewhere in the neighborhood of a recognizable theme; on the other, Shepp, as determined to abandon any such constraints in favor of his own free–thinking approach to improvising. While it’s obvious that Shepp has extraordinary technique, his solos are (in my opinion) full of sound and fury but signifying very little. As with most “free Jazz,” I find listening to his dissonant and, yes, repetitious ad–libs a rather painful experience (but not as painful as I once did, which could be a step forward or backward; I’ve not yet resolved that). It’s said that Shepp incorporates elements of many players into his unorthodox style, from Webster, Hawkins and Lucky Thompson on through to his contemporaries. If what we hear on this recording is the result of that fusion, give me Zoot Sims or Stan Getz any day. Even Gullin (who performs with Shepp on only the first and last of the four extended numbers) is drawn into Shepp’s vortex, playing more stridently than is his custom and even screeching a few times, almost as if he were trying to earn Shepp’s stamp of approval. We admired him more when he was easygoing and ultra–cool. Lars has the first solo on “You Stepped Out of a Dream” and is featured all the way on “I Should Care,” as is Shepp on “The House I Live In” before the two are reunited for the finale, “Sweet Georgia Brown.” The topnotch rhythm section is composed of the late Catalonian pianist Tete Montoliu and a pair of “young lions,” Swedish drummer Alex Riel and Danish bassist Niels–Henning Ørsted Pedersen, seventeen years old when the recording was made. Montoliu’s swinging; straight–on solos are a breath of fresh air. In an interview with Coda magazine shortly before this concert in November ’63, the usually articulate Shepp makes a sweeping statement about Jazz that is not only totally unsupported but reveals far more about his personal agenda than the music itself. Jazz, he says, is “the one music that has not been mastered by white people.” Sorry, Archie; I can’t buy that, nor can most of the white people who have been mastering Jazz since its earliest days and continue doing so today. Like any music, Jazz has nothing to do with color and everything to do with artistry, which isn’t limited to any race or creed. Now that I’ve gotten that off my chest, back to the album. As its running time is only 49:44, there seems no excuse for the fadeout on “Sweet Georgia Brown” unless the engineer simply ran out of tape. That’s only an observation, not a complaint, as there’s nothing here that would have caused me to look forward to hearing more. ~ by Jack Bowers, 1st June, 2001, allaboutjazz.com

SteepleChase Records, SCCD 36013, 1993

Recorded 21^st November, 1963 'Live' at Montmatre Jazzhus, Copenhagen, Denmark

Personnel:

Archie Shepp - Tenor Saxophone

Lars Gullin - Baritone Saxophone

Tete Montoliu - Piano   

Niels-Henning Ørsted Pedersen - Bass

Alex Riel - Drums

Track Listing:

1. You Stepped Out Of A Dream {Nacio Herb Brown, Gus Kahn} (18:50)

2. I Should Care {Sammy Cahn, Axel Stordahl, Paul Weston} (8:50)

3. The House I Live In {Earl Robinson} (9:01)

4. Sweet Georgia Brown {Ben Bernie, Kenneth Casey, Maceo Pinkard} (11:19)

Credits:

Producer, Mixing - Nils Winther

Artwork - Per Grunnet

Photography - Jan Persson

Note:

These tracks are from previously unissued recordings by the Danish radio. The quality of the captured tracks suffered from a discreet hum throughout and a couple of minor glitches. Also as the reviewer complains the last track is inadvertently faded out. The hum was sensitively filtered along with the removal of unnecessary extended applause and futile announcements, leaving the listener to enjoy the essence of the music.

Archie Shepp - Black Ballads & Blue Ballads

Hmmmm....we don't seem to have spent any time here exploring the giant talent of Archie Shepp and I am more than a little stunned to have just now noticed this. REALLY?

I think a little journey into the Impulse recordings of Shepp AND Pharoah Sanders may be in the near future......

These two albums are such a logical pairing that I couldn't resist posting them together.

My first experience of Shepp was in the Impulse era and at that time I dismissed him quickly due to foolish prejudices and uneducated ears. Today I hear Ike Quebec and Ben Webster all over even his wildest work.

These two albums feature 2 entirely different, yet equally awesome awesome quartets, each is a deeply sensitive conversation over familiar and beloved ground. If you do not have these PLEASE don't pass them by.