Archie SHEPP & Richard DAVIS - Body and Soul 1989

Archie SHEPP & Richard DAVIS - Body and Soul 1989
At "Club Cantare", Boston, MA, October 1, 1989
CD 7007-2

Jazz

This duet date from 1990 demonstrates the deep blues feeling and technical mastery Archie Shepp has on the tenor saxophone. Comprised of four standards, "Things Ain't What They Used to Be," "Body and Soul," "Pannonica," and "'Round Midnight", this set is one of Shepp's most enjoyable ever. The reasons are myriad, but it is in large part due to the fluid, loping bass of Richard Davis. Recorded in a club in front of a live audience, Shepp digs deep into his own history of influential tenor players and comes out not wanting, but on par with them, from Eddie "Lockjaw" Davis to Sonny Rollins to John Coltrane. His playing here is big, meaty, and warm, full of subtle emotions as well as bleating cries. Davis' sense of time and melody is nearly incredible on the title track and on "'Round Midnight." The interplay Shepp shares with him is tasty, coming from fragmentary elements in Monk's changes; Shepp and Davis move around the lyric and cut to the heart of the tune's color and ambiguity. It's a haunting version and one that offers a completely different reading of the tune over 17 minutes. On "Pannonica," Shepp's blues feeling comes out of Ben Webster as well as Eddie "Lockjaw" Davis and his soloing is full of warmth, humor, and a ragged sort of elegance. This like Shepp's date with Horace Parlan, Goin' Home is a major addition to the saxophonist's catalog.
By Thom Jurek. AMG.
**
Archie Shepp- Tenor Sax
Richard Davis- Bass
**
01. Things Ain't What They Used to Be (Ellington, Mercer)   12.34
02. Body and Soul (Eyton, Frank)   17.15
03. Pannonica (Monk, Thelonious)   7.21
04. 'Round About Midnight (Hanighen, Bernie)  17.03
**

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Archie SHEPP - The Way Ahead 1968

Archie SHEPP - The Way Ahead 1968
AS-9170

Jazz

The Way Ahead was a turning point for Archie Shepp. For starters, he had looked all over the jazz/improv arena for the proper combination of players -- without a piano. One can speculate that this was because he cut his first teeth with pianist Cecil Taylor and that would perhaps ruin anybody for life. Recorded in 1969, The Way Ahead featured Ron Carter on bass, Grachan Moncur III's trombone, Jimmy Owens' trumpet, and drums by either Beaver Harris or Roy Haynes, with Walter Davis, Jr. on piano. The set is a glorious stretch of the old and new, with deep blues, gospel, and plenty of guttersnipe swing in the mix. From the post-bop blues opener "Damn If I Know (The Stroller)," the set takes its Ellington-Webster cue and goes looking for the other side of Mingus. Shepp's solo is brittle, choppy, honky, and glorious against a set of changes gracefully employed by Moncur and Owens. Harris' stuttering, skittering rhythm may keep it anchored in the blues, but holds the line for anything else to happen. Likewise, the modern edge of things evidenced by Moncur's "Frankenstein" (first recorded with Jackie McLean's group in 1963) turns up the heat a bit more. Shepp's take is wholly different, accenting pedal points and microharmonics in the breaks. On "Sophisticated Lady" and "Fiesta," Haynes fills the drum chair and cuts his manic swinging time through the arrangements, lending them more of an elegant flair than perhaps they deserve here, though they also dig deeper emotionally than one would expect.
By Tom Jurek. AMG.
**
Bass- Ron Carter
Drums- Beaver Harris (tracks: A2, B2) , Roy Haynes (tracks: A1, B1)
Piano- Walter Davis Jr.
Saxophone [Tenor]- Archie Shepp
Trombone- Grachan Moncur III
Trumpet- Jimmy Owens
**
A1. Damn If I Know (The Stroller) 6:16 
A2. Frankenstein 13:51 
B1. Fiesta 9:55 
B2. Sophisticated Lady 7:08 
**


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Archie SHEPP - The Magic of Ju-Ju 1967

Archie SHEPP - The Magic of Ju-Ju 1967
AS-9154

Jazz

On this 1967 Impulse release, tenor saxophonist Archie Shepp unleashed his 18-minute tour de force "The Magic of Ju-Ju," combining free jazz tenor with steady frenetic African drumming. Shepp's emotional and fiery tenor takes off immediately, gradually morphing with the five percussionists -- Beaver Harris, Norman Connor, Ed Blackwell, Frank Charles, and Dennis Charles -- who perform on instruments including rhythm logs and talking drums. Shepp never loses the initial energy, moving forward like a man possessed as the drumming simultaneously builds into a fury. Upon the final three minutes, the trumpets of Martin Banks and Michael Zwerin make an abrupt brief appearance, apparently to ground the piece to a halt. This is one of Shepp's most chaotic yet rhythmically hypnotic pieces. The three remaining tracks, somewhat overshadowed by the title piece, are quick flourishes of free bop on "Shazam," "Sorry Bout That," and the slower, waltz-paced "You're What This Day Is All About."
By Al Campbell. AMG.
**
Bass- Reggie Workman
Drums- Beaver Harris , Norman Connor
Percussion- Dennis Charles
Percussion [Rhythm Logs]- Eddie Blackwell
Percussion [Talking Drums] - Frank Charles
Producer - Bob Thiele
Tenor Sax- Archie Shepp
Trumpet, Flugelhorn- Martin Banks
Trumpet, Trombone- Michael Zwerin
**
A. The Magic Of Ju-Ju 18:34
B1.You're What This Day Is All About 1:47
B2.Shazam 4:43
B3.Sorry 'Bout That 10:08
**

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Archie SHEPP - Tray of Silver 1979

Archie SHEPP - Tray of Silver 1979
YX 7806 ND
Recorded at Nippon Columbia's Studio, Tokyo on April 11, 1979

Jazz

One of Shepp's excellent straight sides from the late 70s  and like the rest of the best, recorded as a Japanese-only session for Denon. The "silver" in the title is Horace Silver as 3 of the album's 4 long tracks are Silver compositions played by Shepp with a quintet that includes Silver drummer Roy Brooks, as well as Mickey Tucker on piano, Takashi Mizuhashi on bass, and some baritone sax from Howard Johnson. Tracks are long, and open-ended almost in a blowing session mode, except Shepp's the only tenor. Titles include "Nica's Dream", "Cookin At The Continental", and "No Smokin".  
Rom Dusty Groove.
**
Archie Shepp (born May 24, 1937) is a prominent American jazz saxophonist. Shepp is best known for his passionately Afrocentric music of the late 1960s which focused on highlighting the injustices faced by the African race, as well as for his work with the New York Contemporary Five, Horace Parlan, and his collaborations with his "New Thing" contemporaries, most notably Cecil Taylor and John Coltrane.
**
Archie Shepp- Tenor Sax
Mickey Tucker- Piano
Takashi "Gon" Mizuhashi- Bass
Roy Brooks- Drums
Howard Johnson- Baritone Sax, Tuba
**
A1. No Smokin`   7:21
A2. If You Could See Me Now   13:20
B1. Nica`s Dream   12:01
B2. Cookin`at the Continental   10:25
**
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Archie SHEPP & Roswell RUDD - Live In New York 2000

Archie SHEPP & Roswell RUDD - Live In New York 2000

Jazz

Live in New York is a reunion, recalling the collaboration between trombonist Rudd and tenorist Shepp in the 1960s. Toward the end of that decade, Grachan Moncur III provided a second trombone in their combo, and he's conveniently present for this date, too. The leaders divide composition credits equally, their selections drawn from the last four decades. Shepp had developed a sideline in singing whilst sitting at the piano, leading to a supper-club coast during "Steam" and "Déjà Vu," almost a show-bizzy approach that will come as a shock to old fans. The juggernaut barging of "Pazuzu" is more typical, with all three hornmen generating a big, blustery sound that might frighten off the more sedate listener. Adding to the variety is Amiri Baraka's beat poetry on his own "We Are the Blues." "Slide by Slide" draws attention to the sonic similarities between free-blowing and old-time New Orleans street-parading, showing that slurs, honks, and bleats are all part of a common vocabulary.
By Martin Longley.
**
Archie Shepp- Tenor Sax, Vocals, Piano
Roswell Rudd- Trombone
Grachan Moncur III- Trombone
Reggie Workman- Bass
Andrew Cyrille- Drums
Amiri Baraka- Poetry
**
01. Keep Your Heart Right- Roswell Rudd 2:12
02. Acute Motelitis- Roswell Rudd 8:23
03. Steam- Archie Shepp 7:34
04. Pazuzu- Roswell Rudd 8:28
05. We Are The Blues- Amiri Baraka 5:47
06. U-jamma- Archie Shepp 9:17
07. Bamako- Roswell Rudd 5:46
08. Slide By Slide- Roswell Rudd 11:58
09. Deja-Vu- Archie Shepp 3:59
10. Hope No. 2- Archie Shepp 10:39
**
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Archie SHEPP - The New York Contemporary Five 1963

Archie SHEPP - The New York Contemporary Five 1963
1984 Issue
Recorded at The Jazzhaus Montmarte, Copenhagen, on November 15, 1963

Jazz

This historically significant CD has ten of the 11 selections recorded by The New York Contemporary Five (and originally issued on two separate LPs) on November 11, 1963. The short-lived group, which consists of cornetist Don Cherry, altoist John Tchicai, Archie Shepp on tenor, bassist Don Moore and drummer J.C. Moses, was avant-garde for the period, influenced most by Ornette Coleman's Quartet; the participation of Coleman's cornetist certainly helped. However Tchicai (although sometimes hinting at Coleman) had a different approach than Ornette Coleman and it was obvious that Shepp had already developed his own original voice and was the group's most passionate soloist. Together this very interesting quintet (which would soon break up) performs pieces by Ornette Coleman, Thelonious Monk (short melodic renditions of "Monk's Mood" and "Crepescule with Nellie"), Bill Dixon, Tchicai, Shepp and Cherry.
By Scott Yanow. AMG.
**
One disc,75 minutes approximately. Remastered from the original tapes. Good delineation between the instruments with a clean sound. This disc comprises two vinyl releases which were recorded live, in 1963. This set is under Archie Shepp's name in hopes that it would sell more through name recognition than for the quality of music. The musicians,besides Shepp on tenor sax consist of Don Cherry-cornet,John Tchicai-alto sax,Don Moore-bass,and J.C.Mose drums. The music recorded by this group is much more important than a lot of people realize. Their is a slight feel of Ornette Coleman flowing around this music,and not just because of Cherry's presence. The tunes are a combination of traditional jazz foundations on which the then "new thinking" was overlaid,which gives this set(besides good music) an importance much greater than this fleeting group. The tunes were written by Coleman,Monk,and several members of the group. Of particular note is the track TRIO,which is long(fifteen minutes or so)written by the trumpeter Bill Dixon. The sound of this track is different than the others,being in a modal style with varying meters. This gives this track a real identity and is one of the highlights of this set. All the tracks were recorded live in Copenhagen,where this type of music found a welcome home. This group didn't last long,with several members moving to the U.S. Shepp stayed in Europe and recorded several albums. Some of the best were duo settings such as GOIN' HOME,TROUBLE IN MIND,and LOOKING AT BIRD. Listeners should not be put off with thinking this music is difficult to understand and enjoy. This is music that has a bite-but when it's over,you won't mind,because
this set works it's way into your mind,and you realize you have heard something important on the long road of jazz.
By Stuart Jefferson.
**
J.C. Moses- Drums
John Tchicai- Alto Sax
Don Moore- Bass
Don Cherry- Cornet
Archie Shepp- Soprano,Tenor Sax
**
01. Consequences (Cherry) 8:37
02. Monk's Mood (Monk) 2:29
03. Emotions (Coleman) 8:42
04. Wo Wo (Tchicai) 5:50
05. Trio (Dixon) 15:32
06. Crepescule With Nellie (Monk) 2:21
07. O.C. (Coleman) 6:40
08. When Will The Blues Leave (Coleman) 8:58
09. The Funeral (Shepp) 5:08
10. Mick (Tchicai) 7:41
**
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Archie SHEPP Quartet - I Didn't Know About You 1991

Archie SHEPP Quartet - I Didn't Know About You 1991

Jazz

A strong effort by Shepp, who is reunited with pianist Horace Parlan and joined by bassist Wayne Dockery and drummer George Brown for a an eight-track set recorded in Germany. The highlight is clearly the sole track with Parlan in which they perform Monk's "Ask Me Now" both effectively and emotionally. The version of "Go Down Moses (Let My People Go)" is a winner for Shepp's glorious baritone vocals and his saxophone solo. The excellent choice of tunes (including Duke Ellington's "I Didn't Know About You," Todd Dameron's "Hot House," and Bird's "Now the Time") presents Shepp in a fine light, where he blows both tenor and alto saxophones. Some of the pieces, such as Shepp's "Party Time," are less than perfect and the saxophonist's vocals on "The Good Life" are only average, but overall, Shepp and the quartet are a pleasure to hear.
By Steven Loewy, AMG.
**
Archie Shepp- (Tenor and Alto Saxophone)
Horace Parlan- (Piano)
Wayne Dockery- (Double Bass)
George Brown- (Drums)
**
01. Go Down Moses (Let My People Go) 11:00 
02. I Didn't Know About You 10:09 
03. Billie's Bossa 5:49 
04. Hot House 7:33 
05. The Good Life 9:44 
06. Now's The Time 5:28 
07. Ask Me Now 4:47 
08. Party-time 9:27 
**
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Archie SHEPP - The Cry Of My People 1972

Archie SHEPP - The Cry Of My People 1972
AS-9231

Jazz

Recorded in 1972 with a core band of Leroy Jenkins, Cornell Dupree (!), Jimmy Garrison, and Charles McGhee, Shepp supplemented these proceedings in much the same way he did with the cast of Attica Blues, with gospel singers, big bands, quintets, sextets, and chamber orchestras, with guests that included Harold Mabern on piano, Bernard "Pretty" Purdie on drums, and Ron Carter on electric bass! Recorded during a period in which Shepp was reaching out of the jazz idiom to include all of what he perceived to be "trans-African" music at the time, there is gutbucket R&B here, as well as the sweetly soul gospel of "Rest Enough." The charts' arrangements are a combination of Ellington's more pastoral moods -- usually expressed in his suites -- and the more darkly complex modal stylings of George Russell. Unlike some of Shepp's dates from this period, the vocals do not detract from the mix employed here. This is an urban record that showcases Shepp's ability, at this time in his career, to literally take on any project, combine as many sources as he was permitted by his financial resources, and come up with something compelling, provocative, and soulful. All extremes are subsumed by the whole: The avant-garde free jazz of the period is covered in the large-ensemble playing, which is covered by the gospel and R&B stylings that are accented by the free jazz players. Shepp worked with many larger ensembles as a leader, but never did he achieve such a perfect balance as he did on The Cry of My People. Given that the remastered version -- with excellent liner notes, superb sound, and a gorgeous package -- is being issued during an election year in the United States, its poignancy and urgency couldn't be more timely.
By Thom Jurek. AMG.
**
Bass - Jimmy Garrison (tracks: A2, A4 to B4)
Bass [Fender] - Ron Carter (tracks: A1, A3, B1)
Cello - Esther Mellon (tracks: A2, A4, B1, B3, B4) , Pat Dixon (tracks: A2, A4, B1, B3, B4)
Drums - Beaver Harris (tracks: A3 to B1) , Bernard Purdie (tracks: A1, A2)
Guitar - Cornell Dupree (tracks: A1, A3)
Percussion - Nene DeFense (tracks: A2, A4, B1, B4)
Piano - Dave Burrell (tracks: B2. B3) , Harold Mabern (tracks: A1 to B1, B4)
Saxophone [Soprano] - Archie Shepp (tracks: A2, A4, B3)
Saxophone [Tenor] - Archie Shepp (tracks: A3, A4, B1, B4)
Tambourine - Nene DeFense (tracks: A1, A3)
Trombone - Charles Greenlee (tracks: A2 to B3) , Charles Stephens (tracks: A2 to B1, B4)
Trumpet - Charles McGhee (tracks: A2 to B1, B3, B4)
Violin - Gayle Dixon (tracks: A2, A4, B1, B3, B4) , Jerry Little (tracks: A4, B3, B4) , John Blake (tracks: A2, B1) , Leroy Jenkins (tracks: A2, A4, B1, B3, B4) , Lois Siessinger (tracks: A2, B1) , Noel DaCosta (tracks: A4, B3, B4)
Vocals - Andre Franklin (tracks: A2, A3, B1, B3) , Patterson Singers (tracks: A2, A3, B1, B3)
**
A1. Rest Enough (Song To Mother) 4:38
       Backing Vocals - Andre Franklin , Patterson Singers
       Lead Vocals - Peggy Blue*
       Written By - Archie Shepp
A2. A Prayer 6:29
       Arranged By, Conductor - Romulus Franceschini
       Written-By, Arranged By - Carl Massey
A3. All God's Children Got A Home In The Universe 2:57
       Written By - Archie Shepp
A4. The Lady 5:28
       Arranged By - Romulus Franceschini
       Arranged By, Conductor - Cal Massey
       Vocals - Joe Lee Wilson
       Written By - Bob Ford
B1. The Cry Of My People 5:43
       Arranged By - Romulus Franceschini
       Written-By, Arranged By, Conductor - Carl Massey
B2. African Drum Suite, Part 1 0:35
       Vocals - Joe Lee Wilson
       Written By - William G. Harris
B3. African Drum Suite, Part 2 7:32
       Arranged By, Conductor - Dave Burrell
       Berimbau, Percussion [Brazilian] - Guilherme Franco
       Bongos, Congas - Nene DeFense
       Tambourine, Congas - Terry Quaye
       Written By - William G. Harris
B4. Come Sunday 9:30
       Arranged By, Conductor - Charles Greenlee
       Backing Vocals - Patterson Singers
       Lead Vocals - Joe Lee Wilson
       Written By - Duke Ellington
**
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Archie SHEPP & Lars GULLIN Quintet - The House I Live In 1963

Archie SHEPP & Lars GULLIN Quintet - The House I Live In 1963

Jazz

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
**
Archie Shepp- Tenor Sax
Lars Gullin- Baritone Sax
Tete Montoliu- Piano
Niels–Henning Ørsted Pedersen- Bass;
Alex Riel- Drums
**
01. You Stepped Out of a Dream (19:06)
02. I Should Care (9:00)
03. The House I Live In (9:09)
04. Sweet Georgia Brown (11:22)
**
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Archie SHEPP & Horace PARLAN - Trouble In Mind 1980

Archie SHEPP & Horace PARLAN - Trouble In Mind 1980
SCS-1139

Jazz

Shepp, who is also a playwright, brings an immense sense of dramatic gesture to jazz. There is no finer statement of the blues rhetoric than "Backwater Blues" on this CD, and no saxophone notes were ever more dignified, carved out of rock than those on 'St James Infirmary.' The soprano playing (more or less every other track) is also powerful and individual. Horace Parlan (piano) is a marvel of elegant, dignified rhythmic balance, on this as on "Goin' Home," making these two wonderful additions to the jazz duet library. It is great to see these titles on www.Amazon.com, where their absence for several years really made one wonder.
By Dai Kaili.
**
Piano - Horace Parlan
Producer - Nils Winther
Tenor Sax & Soprano Sax - Archie Shepp
**
A1. Backwater Blues   2:40
A2. Trouble in Mind   3:23
A3. Nobody Knows You When You're Down and Out   5:55
A4. Careless Love Blues   2:30
A5. How Long Blues   4:58
B1. Goin' Down Slow   4:25
B2. Courthouse Blues   3:40
B3. See See Rider   4:40
B4. Make Me a Pallet on the Floor   3:25
B5. St. James Infirmary   4:20
**
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Archie SHEPP - First Take (Live) 2003

Archie SHEPP - First Take (Live) 2003

Jazz

This live recording, made in 2003 in Montpelier, France, is the first issue on Archie Shepp’s own label, Archieball. “First Take” is an album of duets between Shepp and his long-time friend & collaborator, pianist Siegfried “Siggy” Kessler - who he first met in Paris in the 60’s and who was a member of Shepp’s quartet for 10 years.

After a long lapse of time, they are united once again on this fine album - recreating the natural empathy they felt at their first chance meeting - when Shepp heard one of his own compositions “The Morning of the Blacks” (only then recently recorded) being played by Siggy in a Paris night club. They reinvestigate the piece for 23 minutes on the wonderful, opening track of this album, before going on to play their versions of Strayhorn’s “Lush Life”, Ellington’s “Don’t Get Around Much Anymore” and 3 more Shepp originals, with a brief detour to Monk’s “Misterioso”. Two master musicians in complete, heartfelt harmony. Shepp, playing soprano & tenor and occasionally providing evocative vocals, plays as expressively as ever - a real return to form.
**          
Paired with German pianist Siegfried Kessler, Archie Shepp finds himself in an evocative mood on First Take. Recorded live in France, they perform an intimate and at times haunting set of six tunes. The disc begins with the 22-minute sojourn of "Les Matin de Noirs" ("The Morning of the Blacks"). A surprisingly smooth ride, considering its length, the opening number goes a long way to ease and convince the listener of the album's gentle vibe. Shepp never pushes and Kessler never insists, resulting in an intricate, musical dance of subtleties and niceties.
Versions of Billy Strayhorn's "Lush Life," Duke Ellington's "Don't Get Around Much Anymore," and Shepp's most recognizable composition, "Steam," are done with melodic care and structural freedom. The progressions of these songs rely greatly on the mood and feel of the duo and, many times, they wonderfully depart from commonly known versions. The "Misterioso/California Blues" medley, in particular, sways nicely to the suggestive winds of sorrow and hope. The closing number, Shepp's "Ujaama," deviates from the album's other songs by actually preserving its inherent, tight, straightahead groove. Even here, though, Shepp and Kessler's symbiotic relationship is what best defines the music.

An impressive, worthwhile album, First Take is being released on Archie Shepp's new label, his own Archie Ball Records.
By Germein Linares. AAJ.
**
Archie Shepp- Tenor Sax, Vocals;
Siegfried Kessler- Piano.
**
01. Le matin des noirs Archie Shepp, Siegfried Kessler 23:24 Album Only  
02. Lush life Archie Shepp, Siegfried Kessler 10:44 Album Only  
03. Don't get around much anymore Archie Shepp, Siegfried Kessler 6:34 £0.79              
04. Steam Archie Shepp, Siegfried Kessler 12:12 Album Only  
05. Misterioso / California Blues Archie Shepp, Siegfried Kessler 10:35 Album Only  
06. Ujaama Archie Shepp, Siegfried Kessler 8:36
**
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Archie SHEPP - Four For Trane 1964

Archie SHEPP - Four For Trane  1964

Jazz

As far as jazz tribute albums go this one has been a classic since its birth and rightfully so. Archie Shepp doesn't just mimic Coltrane's sound or design but rather adds a blues tilt to them along with some slight improvisation as well. I can just imagine that Archie put his full effort into each and every note as he must have been aware that this release is going to have all ears focused on it since the title refers to the legend himself. Well, he very much did pull it off and the way the group plays together you would have thought they spent years working together on these tracks, which they didn't. Each track is pulled tight and Archie is in control throughout the whole album exploding with rhythm and beauty while the rest of the band sets the pace. There's a jazz author that refers Archie as Coltranes evil twin, and in this release you hear it very much. The last track, Shepp's only composition on the album, is probably my favorite on here. Fast paced tempo and a great free style. Such a great listen and a great tribute overall.
**
Arguably saxophonist Archie Shepp's masterpiece, FOUR FOR TRANE can also be counted among avant-garde jazz's most seminal albums. Recorded in 1964, in the heyday of the free movement, FOUR FOR TRANE contains four tunes by John Coltrane, whose own music was blazing free jazz trails during the same period. Yet Shepp and company re-invent Coltrane's compositions, stripping them down to primal blues while catapulting them into the free-jazz stratosphere.

With drummer Charlie Moffet, tenor saxophonist John Tchicai, Coltrane bassist Reggie Workman, and trombonist Roswell Rudd (who also arranges the tunes here), Shepp unleashes an intense, exuberant romp through "Cousin Mary," "Mr. Syms," "Syeeda's Song Flute," and the gorgeous "Naima," before closing out the disc with a Shepp original. The playing is brilliant and bracing enough to make this album as revolutionary today as it was the day it was released.
From CD Universe.
**
Archie Shepp- Tenor Sax
Alan Shorter- Flugelhorn
Roswell Rudd- Trombone
John Tchicai- Alto Sax
Reggie Workman- Bass
Charles Moffett- Drums
**
A1. Syeeda's Song Flute 8:26
       Written-By - John Coltrane
A2. Mr. Syms 7:38
       Written-By - John Coltrane
B1. Cousin Mary 7:11
       Written-By - John Coltrane
B2. Naima 7:06
       Written-By - John Coltrane
B3. Rufus (Swung, His Face At Last To The Wind, Then His Neck Snapped) 6:23
       Written-By - Archie Shepp
**
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Archie SHEPP - Fire Music 1965

Archie SHEPP - Fire Music 1965

Jazz

Tenor saxophonist Archie Shepp was an essential voice in the revolutionary jazz of the 1960s, creating a music that insistently linked art and social issues. He was also a musician who fused the past and present in jazz, leapfrogging over bebop to develop a sound that combined the expressive breathiness of Ben Webster with the new vocabulary of free jazz. Those qualities are much in evidence in these 1965 sessions.

The principal band here is a sextet, and it brings a primal force to Shepp's charging, complex, multidimensional compositions. But within this potent brew, individual voices distinguish themselves. Altoist Marion Brown's lines always invoke the blues, while trumpeter Ted Curson, a veteran of Charles Mingus's bands, provides a sense of detached perspective. The riffing horns create a backdrop for some of Shepp's most volatile orations on "Hambone" and "Los Olvidados" as his tenor seems to shout, shriek, strut, and cajole with a life of its own. A live septet version of "Hambone" is even more turbulent than the studio take. The rest of the Album heads off in a variety of directions. Duke Ellington's "Prelude to a Kiss" is recast with some fresh dissonance. Taking his initial cues from Webster, Shepp goes on to turn the ballad into something very much his own, though still Ellingtonian in spirit. His arrangement of "Girl from Ipanema" adds unlikely fire to the Jobim tune, while "Malcolm," a poem inspired by the assassination of Malcolm X, has Shepp's voice and tenor accompanied by just bass and drums. While these diversions might now seem forced or melodramatic.
**
Archie Shepp- Tenor Sax
Ted Curson- Trumpet
Joseph Orange- Trombone
Marion Brown- Alto Sax
Reggie Johnson- Double Bass (except track 3)
Joe Chambers- Drums (except track 3)
David Izenzon- Double Bass (on track 3)
J.C. Moses- Drums (on track 3)
**
A1. Hambone   12:28
A2. Los Olvidados   8:53
B1. Malcolm, Malcolm - Semper Malcolm   4:48
B2. Prelude to a Kiss   4:49
B3. The Girl from Ipanema   8:33
**
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Archie SHEPP - Things Have Got to Change! 1971

Archie SHEPP - Things Have Got to Change! 1971

Jazz

Archie Shepp's Thing Have Got To Change, released in 1971 solidified the saxophonists reputation as a soulful, yet radical free jazz artist motivated by social commentary and cultural change.  The record which features many of Shepp's longtime comrades including Joe Lee Wilson, Beaver Harris, Grechan Moncur III, and Ronald Wilson integrates the symphonic-like structure of the politically charged compositions with the spirited, cathartic sound for which Shepp is so notorious. 

"Dr. King, The Peaceful Warrior", a stripped down anthem style duet between Shepp and Cal Massey, provides a striking contrast with the album's predominately thick, almost ecclesiastic orchestration.  Ultimately, Things Have Got To Change is a vivid snapshot of a social conscious artist who not only wore his emotions on his sleeves but expressed them with unsurpassed artistry and prowess.
**
Anita Branham, Anita Shepp, Barbara Parsons, Claudette Brown, Ernestina Parsons, Jody Shayne, Johnny Shepp, Sharon Shepp- Backing Vocals
Roland Wilson- Bass
Beaver Harris- Drums 
Dave Burrell- Electric Piano
Billy Butler, David Spinozza- Guitar
Calo Scott, Hetty 'Bunchy' Fox, Juma Sutan, Ollie Anderson- Percussion
James Spaulding- Saxophone [Alto], Flute [Piccolo]
Howard Johnson- Saxophone [Baritone]
Archie Shepp- Saxophone [Tenor, Soprano]
Charles Greenlee, Grechan Moncur III- Trombone 
Roy Burrowes, Ted Daniel- Trumpet
Joe Lee Wilson- Vocals
**
A1. Money Blues (Part I,II AND III) 18:21
B1. Dr. King, The Peaceful Warrior 2:29  
B2. Things Have Got To Change (Part I,II) 16:53
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Archie SHEPP and Dollar BRAND - Duet 1978

Archie SHEPP and Dollar BRAND - Duet 1978

Jazz

Shepp was born in Fort Lauderdale, Florida, on May 24, 1937, but raised in Philadelphia, Pennsylvania, where he studied piano, clarinet and alto saxophone before focusing on tenor saxophone (he occasionally plays soprano saxophone). Fort Lauderdale, known as the Venice of America, is a city located in Broward County, Florida. ...  Official language(s) English Capital Tallahassee Largest city Jacksonville Largest metro area Miami metropolitan area Area  Ranked 22nd  - Total 65,795[1] sq mi (170,304[1] km²)  - Width 361 miles (582 km)  - Length 447 miles (721 km)  - % water 17. ...  is the 144th day of the year (145th in leap years) in the Gregorian calendar. ...  Year 1937 (MCMXXXVII) was a common year starting on Friday (link will display the full calendar) of the Gregorian calendar. ...  For other uses, see Philadelphia (disambiguation) and Philly. ... Capital Harrisburg Largest city Philadelphia Area  Ranked 33rd  - Total 46,055 sq mi (119,283 km²)  - Width 280 miles (455 km)  - Length 160 miles (255 km)  - % water 2. ...  A short grand piano, with the top up. ...  Two soprano clarinets: a B♭ clarinet (left, with capped mouthpiece) and an A clarinet (right, with no mouthpiece). ...  This article or section does not cite any references or sources. ...  The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax. ...  The soprano saxophone is a variety of the saxophone, a woodwind instrument. ...
Shepp is best known for his passionately Afrocentric music of the late sixties which focused on highlighting the injustices faced by the African race, as well as for his work with the New York Contemporary Five and his collaborations with his "New Thing" contemporaries, most notably Cecil Taylor and John Coltrane.
From FactBites.
**
A somewhat surprising pairing at the time, the former firebrand of the tenor sax and the wonderful South African pianist found a pleasant and relaxed meeting point. By 1978, Shepp had largely abandoned the ferocious attack that gained him renown in the '60s, settling on a rich, Ben Webster-ish tone and playing a repertoire consisting of modern standards and bluesy originals. Two such pieces, the lovely Dave Burrell/Marion Brown composition "Fortunato" and Mal Waldron's "Left Alone," are highlights of this session, Shepp's burnished tone as soft as an old shoe. Ibrahim is a fairly deferential partner here, generally preferring to play the role of accompanist, although certainly one sprinkling his work with plenty of ideas for Shepp to work off. But the prevailing sense of relaxation begins to pall after a while and one wishes for a bit more of the old rough and tumble that these two were surely capable of.
Still, for those who enjoyed Shepp's mid-'70s dates for Arista/Freedom and Ibrahim's more subdued group efforts of the late '70s and early '80s, there's much good listening here.
By Brian Olewnick.
*
Archie Shepp- (Tenor, Alto and Soprano Saxophones)
Dollar Brand/Abdullah Ibrahim- (Piano)
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01. Fortunato (Dave Burrell/Marion Brown) 7:41
02. Barefoot Boy From Queens Town - To Mongezi (Archie Shepp) 7:51
03. Left Alone (Mal Waldron) 7:54
04. Theme From "Proof Of The Man" (Yuji Ohno) 8:17
05. Ubu-Suku (Dollar Brand) 4:34
06. Moniebah (Dollar Brand) 8:21
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Archie SHEPP and Philly Joe JONES 1969

Archie SHEPP and Philly Joe JONES 1969

Jazz

This intriguing LP does not live up to its potential. Three generations of jazzmen were involved in this 1969 project, with veteran drummer Philly Joe Jones and the great avant-garde tenor Archie Shepp meeting up with two of the top "new jazz" players (altoist Anthony Braxton and violinist Leroy Jenkins). Unfortunately, both of the sidelong pieces have recitations, the performances are overly long, and there is quite a bit of rambling. This is a lesser effort that has been long out-of-print.
By Scott Yanow, All Music Guide.
**
Scott Yanow has his opinion about the LP,I have totally different..
Listen and be your own judge.
By themonk.
**
Earl Freeman- Bass
Philly Joe Jones- Drums
Julio Finn- Harmonica
Antony Braxton- Saxophone 
Archie Shepp- Saxophone, Piano
Leroy Jenkins- Violin
Chicago Beau- Vocals, Saxophone, Harmonica 
**
A1   The Lowlands (18:33)
B1   Howling In The Silence: (a) Raynes Or Thunders (b) Julio's Song (21:40)
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Archie SHEPP & Niels-Henning Ørsted PEDERSEN - Looking At Bird 1980

Archie SHEPP & Niels-Henning Ørsted PEDERSEN  - Looking At Bird 1980

Jazz

One disc 44 minutes approximately. There is no reference to remastering of any kind-however the sound is clean and warm,with good separation of instruments. For anyone who thinks this set is just another cash-in on Charlie "Yardbird" Parker's name and legacy-guess again. And for those who might equate Shepp with a more dissonant style of playing,something along the lines of Anthony Braxton's THE CHARLIE PARKER PROJECT,nothing could be further from the truth. This collection of tunes,while paying tribute to Parker,is in a class of it's own. Both Shepp and NHOP(Niels-Henning Orsted Pederson) are well-schooled in "Bird's" music. This set gives the term "duo" a clear definition of what two musicians of this caliber are capable of playing. From the very first track these two people meld their instruments into a satisfyingly rich whole. While Shepp's playing,whether its on tenor or soprano sax,does take center stage,NHOP gets plenty of space to interpret this music. His bass tone is warm yet clean,and seems to flow through these tunes effortlessly. They are constantly weaving in and out of each others path,supporting each other or stepping out for a short solo. The overall tone of this album is set in the mid-tempo range,but there are a number of "foot-tappers",so the album moves right along. This set pays homage to Parker and still manages to have it's own individualistic sound. Of the eight tunes five are by Parker,with the other three being standards identified with Parker. As usual Shepp will throw out a few fast squelches on his horn in the middle of playing the melody,which only serves to contrast his style and interpretation,while still staying true to Parker's legacy. For those of you who enjoy music like this,listen to GOIN' HOME by Archie Shepp and Horace Parlan(piano),another duo recording. This time Shepp movingly interprets traditional gospel tunes in a very heartfelt,authentic style. Concerning this set,about the only thing I wish this album had were liner notes. There is the usual information on tracks,players,and where and when this was recorded. However,it would have added immensely to have information surrounding this set-a small quibble. After all these years this set is still not well-known,which is a shame,for music of this caliber belongs in anyone's jazz collection who considers themselves well-versed in jazz.
By Stuart Jefferson.
**
Avant-garde tenor saxophonist Archie Shepp created a stir in 1977 when he recorded a set of hymns and folk melodies in melodic duets with pianist Horace Parlan. On February 6, 1980, he reunited with Parlan for a set of blues associated with Bessie Smith, and the following day, as a sort of sequel, Shepp played eight songs associated with Charlie Parker in collaboration with bassist Niels-Henning Orsted Pedersen. Although never a bebopper, Shepp does surprisingly well on such tunes as "Moose the Mooche," "Ornithology," "Yardbird Suite" and "Confirmation," even if he makes the mistake of doubling on his erratic soprano during a few numbers. Archie Shepp pays tribute to Bird not by copying him, but by being creative and playing Parker's repertoire in his own sound.
Recommended.
By Scott Yanow, All Music Guide.
**
Archie Shepp- (Soprano & Tenor Saxophones)
Neils-Henning Orsted Pedersen- (Bass)
**
01. Moose The Mooche (C.Parker) 6:23
02. Embraceable You (G.Gershwin) 4:40
03. Ornithology (B.Harris) 5:42
04. Billie's Bounce (C.Parker) 5:20
05. Yardbird Suite (C.Parker) 4:31
06. Blues For Alice (C.Parker) 5:48
07. How Deep Is The Ocean (I.Berlin) 5:50
08. Confirmation (C.Parker) 5:46
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Archie SHEPP - Live in San Francisco 1966

Archie SHEPP - Live in San Francisco 1966

Jazz 

Archie Shepp has always been a musical hero of mine. His tenor can sound as beautiful as any tenor sound in jazz as it does on TROUBLE IN MIND and GOIN' HOME (1979). But it can also be raw and passionate as it is on LIVE IN SAN FRANCISCO. This music is of its time but still worth listening to fuelled as it is by anguish, anger and a profound sense of injustice at being black in America. Charlie Parker said " if you don't live it it won't come out of your horn" and Archie Shepp was one of the great exemplars of that saying - he spoke to and of the sixties through his music as much as Martin Luther King did in his way. This is challenging music -it's not sweet music. It's passionate, proud and intelligent music. It is music which says ATTENTION MUST BE PAID. There are two full LPs on this 20 bit remastered and bautifully packaged CD. Both were recorded at BOTH/AND CLUB in SAN FRAN on Feb 19, 1966. The second LP was originally issued as a continuous 33 minute work which divided into two parts, formed side one and two of the LP and is now presented as it should be in one piece. With Shepp are some of the most renowned musicians of the "new" music as it was called in the sixties including Roswell Rudd on trombone and Beaver Harris on drums. Donald Garrett and Lewis Worrell are the bassists. These are master musicians who have chosen to play this music. One track is recitation by Shepp called THE WEDDING backed only by the arco bass of Worrell. The listener may be surprised by the consummate articulation and rich voice of Shepp the actor. I was. This music is also of rich historical interest and anyone even vaguely interested in the evolution of American society into a more just and civilized one, will find this music enriching with being ponderous. It is not just entertaining music.
By Ian Muldoon.
**
Archie Shepp- Tenor Sax, Piano
Roswell Rudd- Trombone
Donald Garrett- Bass (#1, 2, 5-8)
Lewis Worrell- Bass
Beaver Harris- Drums
**
01. Keep Your Heart Right (Rudd) 1:15
02. Lady Sings the Blues (Nichols) 7:32
03. Sylvia Speaks 5:35
04. The Wedding (Shepp) 2:52
05. Wherever June Bugs Go (Shepp) 10:25
06. In a Sentimental Mood (Ellington, Kurtz, Mills) 6:14
07. Things Ain't What They Used to Be (Ellington, Persons) 7:56
08. Three for a Quarter, One for a Dime  (Shepp) 32:54
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Archie SHEPP - Steam 1976

Archie SHEPP - Steam 1976

Jazz

This colorful live LP features Archie Shepp on tenor, and a bit of his more basic piano, playing three lengthy compositions (Duke Ellington's "Solitude," Cal Massey's "A Message from Trane" and Shepp's own "Steam") in a sparse trio with bassist Cameron Brown and drummer Beaver Harris. The avant-garde innovator Shepp still sounds pretty strong at what was for him a fairly late period, displaying his distinctive raspy tone and what were for him some typically emotional ideas.
By Scott Yanow, All Music Guide.
**
Tenor sax titan Archie Shepp spent much of the 1960s and early '70s blazing new trails in jazz, but on this 1976 live set, he leaves his more avant-garde leanings on the shelf and opts instead for a bebop-based approach. Working in a trio alongside drummer Beaver Harris and bassist Cameron Brown, Shepp has plenty of room to move throughout STEAM. And even though his starting points here include such compositions as Charlie Parker's "Ah-Leu-Cha" and Duke Ellington's "Solitude," Shepp nevertheless heads out into plenty of new directions from there. Brown's twisting, serpentine lines provide a perfect foil for Shepp's raw, robust tone; you can almost hear Shepp thinking three moves ahead of whatever harmonic juncture he's at, and he consistently arrives somewhere interesting.
From CD Universe.
**
A later set from Archie Shepp and a real lost gem  quite different from his earlier works, especially the better known late 60s sessions  and a surprisingly nice album that runs through some truly excellent longer takes filled with warmth and tenderness you wouldn't expect! Steam was recorded in early 1976, in a stripped down setting, with Cameron Brown on bass and Beaver Harris on drums. The group wonderfully rolls through Ellington's "Solitude", Shepp's "Steam", and the epic "A Message From Trane", a tremendous number written by the great Cal Massey  and Shepp plays both tenor and piano on the record. The CD reissue includes bonus tracks not on the original album  "Ah Leu Cha" and "52nd Street Theme".
From Dusty Groove.
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Archie Shepp tenor sax, piano
Cameron Brown bass
Beaver Harris drums
**
01. A Message From Trane (Live) 18:57
02. Solitude (Live) 11:40
03. Invitation (Live) 14:40
04. Ah-Leu-Cha (Live) 14:24
05. Steam (Live) 07:50
06. 52nd Street Theme (Live) 00:32
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