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Four for Trane by Archie Shepp (CD - 04/08/1997)
 

Four for Trane by Archie Shepp (CD - 04/...

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Four for Trane by Archie Shepp (CD - 04/08/1997)
"Four for Trane" (04/08/1997) Jazz Instrument Shepp, Archie, GRP Records (USA)All tracks have been digitally remastered. Personnel: Archie Shepp (soprano saxophone, tenor saxophone); John Tchicai (saxophone, alto saxophone); Alan Shorter (trumpet, flugelhorn); Roswell Rudd (trombone); Charles Moffett (drums). Audio Remasterer: Erick Labson. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (08/10/1964). Photographers: Chuck Stewart; Charles Stewart. 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.

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The Cry of My People by Archie Shepp (CD - 03/09/2004)
 

The Cry of My People by Archie Shepp (CD...

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The Cry of My People by Archie Shepp (CD - 03/09/2004)
"The Cry of My People" (03/09/2004) Jazz Instrument Shepp, Archie, Impulse!Personnel: Archie Shepp (tenor saxophone); Peggie Blue, Joe Lee Wilson, Andre Franklin (vocals); Charles McGhee (trumpet); Charles Greenlee, Charles Stephens (trombone); Leroy Jenkins, Lois Siessinger, Gayle Dixon, John Blake (violin); Esther Mellon, Patrica Dixon (cello); Harold Mabern, Jr., Dave Burrell (piano); Cornell Dupree (guitar); Ron Carter, James Garrison (bass); Bernard Purdie, Beaver Harris (drums); Nene DeFense (tambourine, percussion); Judith White, Mary Stephens, Barbara White, Mildren Lane (background vocals). Recorded at Allegro Sound Studios, New York, New York on September 25-27, 1972. Originally released on Impulse (9231). 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.~ Thom Jurek

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Body and Soul by Archie Shepp (CD - 01/01/2006)
 

Body and Soul by Archie Shepp (CD - 01/0...

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Body and Soul by Archie Shepp (CD - 01/01/2006)
"Body and Soul" (01/01/2006) Jazz Instrument Shepp, Archie, Enja (USA)Personnel includes: Archie Shepp (tenor saxophone), Richard Davis (bass). Personnel: Archie Shepp (saxophone); Richard Davis (upright bass). 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. ~ Thom Jurek

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Conversations by Archie Shepp (CD - 05/25/1999)
 

Conversations by Archie Shepp (CD - 05/2...

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Conversations by Archie Shepp (CD - 05/25/1999)
"Conversations" (05/25/1999) Jazz Instrument Shepp, Archie, DelmarkMeets Kahil El'Zabar's Ritual Trio. Personnel: Archie Shepp (tenor saxophone, piano); Kahil El' Zabar (drums); Ari Brown (tenor saxophone, piano); Malachi Favors (bass). Recorded at Riverside Studio, Chicago, Illinois on January 23 & 24, 1999. Includes liner notes by Neil Tesser. In a dedication to the late bassist Fred Hopkins, Shepp returns to the recording studio armed with his no-compromise, no-nonsense way of playing the tenor saxophone. It's still as cutting-edge dour as ever, supported by the beautiful underpinnings of the trio, with Ari Brown mostly on piano instead of saxophone as he is more widely heard, the peerless bassist Malachi Favors Maghostut, and Afrocentric drummer/percussionist/leader Kahil El'Zabar. As dictated by the art of improvisors, much ground is covered, and a track-by-track rundown is warranted. The introductory "Conversations" is based on a floating piano, free-time excursion rife for Shepp's tenor to express itself. "Kari" is a rambling swinger with Brown back to his tenor sax and Shepp on piano, the latter embellishing the melody with some Erroll Garner-like flourishes. "Whenever I Think of You" is a drop-dead gorgeous, mid-tempo meditative piece, sans Shepp, showcasing Brown's piano stylings. The 7/4 chant "Brother Malcolm," with Brown on tenor sax plus bass and conga, has the collective group vocally echoing Harlem nocturnes about Malcolm X, and the closer "Revelations" is a definitive workout for Shepp, a robust swinger where his more melodic but still pungent sax sound revels in its own free-spirited, outspoken glory. To say Shepp is back would be shortsighted; he's always been around, especially as a teacher at the University of Massachusetts-Amherst. This is a resolute affirmation of his powers, punctuating that he's still a vital force in the new music, as are his backup constituents on this very fine CD, a perfect introduction for the uninitiated and a must-buy for longtime fans. ~ Michael G. Nastos

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The House I Live In by Archie Shepp (CD) [IMPORT - Denmark]
 

The House I Live In by Archie Shepp (CD)...

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The House I Live In by Archie Shepp (CD) [IMPORT - Denmark]
"The House I Live In" (n/a) Jazz Instrument Shepp, Archie, SteepleChasePersonnel: Archie Shepp (soprano & tenor saxophones); Lars Gullin (baritone saxophone); Tete Montoliu (piano); Neils-Henning Orsted Pedersen (bass); Alex Riel (drums). 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. ~ Scott Yanow

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St. Louis Blues by Archie Shepp (CD - 03/27/2001)
 

St. Louis Blues by Archie Shepp (CD - 03...

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St. Louis Blues by Archie Shepp (CD - 03/27/2001)
"St. Louis Blues" (03/27/2001) Jazz Instrument Shepp, Archie, Jazz MagnetPersonnel: Archie Shepp (tenor saxophone); Richard Davis (bass); Sunny Murray (drums); Leopoldo Fleming (percussion). Recorded on June 1, 1998. Includes liner notes by John Swenson. Personnel: Archie Shepp (vocals, tenor saxophone); Sunny Murray (drums); Leopoldo Fleming (percussion). Audio Mixer: John Purcell. Liner Note Author: John Swenson. Recording information: Schlob Sigharting (06/01/1998). By the late '90s, Archie Shepp was no longer the revolutionary he once was, but he had established himself as a fine performer of blues, standards, and original pieces. For this release, he takes his woozy, sometimes breathy tenor in front of an outstanding piano-less rhythm section of bassist Richard Davis and drummer Sunny Murray, with "guest" percussionist Leopoldo Fleming. All the characteristic Shepp elements are here: the vibrato, the slightly over-emotional renderings of standards ("St. Louis Blues" and "God Bless the Child"), his deep, poignant vocals ("St. Louis Blues"), and the somewhat overextended improvisations. Still, Shepp is a master, and one of the great tenor saxophonists of the 20th century. While there is little here to distinguish this recording from others on which the saxophonist appears (except for some great bass work by Davis, particularly on "Total Package," and some equally fine contributions throughout from Murray), the overall feel is one of someone who has absorbed many years of tradition. Shepp is not quite up to his playing from years ago, and sounds a little tired. His version of "Steam," for example, while perfectly adequate, has better antecedents. While there are superior examples of his playing elsewhere, this recording is nonetheless highly enjoyable. Too, the saxophonist's deep, baritone voice is heard to good effect on "St. Louis Blues," and never fails to impress. ~ Steven Loewy

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I Know About the Life by Archie Shepp (CD - 09/23/2003)
 

I Know About the Life by Archie Shepp (C...

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I Know About the Life by Archie Shepp (CD - 09/23/2003)
"I Know About the Life" (09/23/2003) Jazz Instrument Shepp, Archie, Hatology (Switzerland)Personnel includes: Archie Shepp (tenor saxophone), Ken Werner (piano), Santi Debriano (bass), John Betsch (drums). Recorded in 1981 in a quartet setting featuring the great drummer John Betsch, bassist Santi Debriano, and pianist Ken Werner, I Know About the Life doesn't so much explore these standards as re-contextualize them in the canon. Opening with Thelonious Monk's "Well You Needn't," Shepp does to Monk's tune what Monk did regularly with pop tunes: he smears the melody all around a different harmonic context, adds a boatload of blues feel and a smattering of soul. His double times with Betsch in the middle of the cut are stunning and humorous, and in spite of his solo honks and squeals, he never loses sight of Monk's tune. On his own "I Know About the Life," one can hear Lockjaw Davis, Ben Webster, and John Coltrane in his playing as Shepp builds on the deep soul and blues roots of his 1970s records like Cry of My People. The other two cuts here, a steaming muscular and frenetic read of Coltrane's "Giant Steps," and a nearly heartbreaking version of "'Round Midnight," reveal that the tradition for Shepp was not as it was for the coming reign of neo-trad revisionists who would re-imagine it in their own images: for Shepp here, as on many of his 1980s recordings (check "I Feel Like Going Home" with Horace Parlan), the tradition was an open-ended conversation to be annotated in the ballroom and on the back porch anytime one wished to step into it. Shepp's perception of the language of Ellington was -- and remains -- no less profound than Ellington's understanding of the language of Mingus, or Mingus' of Eric Dolphy's. The whispering sweetness tinged with crackling blues feel in "'Round Midnight" is one of the most important reads of this tune because it gives back to Monk what so many generic players tried to take away: the blood that lies at the heart of the ballad. Hearing Shepp in this light makes any serious jazz fan completely reconsider his contribution after the 1970s. ~ Thom Jurek

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Archie Shepp & The New York Contemporary Five [Remaster] by Archie Shepp (CD) [IMPORT - Denmark]
 

Archie Shepp & The New York Contempo...

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Archie Shepp & The New York Contemporary Five [Remaster] by Archie Shepp (CD) [IMPORT - Denmark]
"Archie Shepp & The New York Contemporary Five [Remaster]" (09/07/2004) Jazz Instrument Shepp, Archie, StoryvillePersonnel: Archie Shepp (soprano saxophone, tenor saxophone); Archie Shepp; Don Cherry & Ed Blackwell (clarinet); Don Cherry (cornet); Don Moore (double bass); John Tchicai (alto saxophone); J.C. Moses (drums). Liner Note Author: Erik Wiedemann. Recording information: Jazzhus Montmartre, Copenhagen, Denmark (11/15/1963). 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. ~ Scott Yanow

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Bateau Lavoir + Archie Shepp by Archie Shepp (CD - 07/09/2004)
 

Bateau Lavoir + Archie Shepp by Archie S...

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Bateau Lavoir + Archie Shepp by Archie Shepp (CD - 07/09/2004)
"Bateau Lavoir + Archie Shepp" (07/09/2004) Jazz Instrument Shepp, Archie, CD Baby (distributor)

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Live in New York by Archie Shepp (CD - 08/07/2001)
 

Live in New York by Archie Shepp (CD - 0...

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Live in New York by Archie Shepp (CD - 08/07/2001)
"Live in New York" (08/07/2001) Jazz Instrument Shepp, Archie, Verve (USA)Personnel: Roswell Rudd (trombone); Archie Shepp (vocals, tenor saxophone, piano); Amiri Baraka (spoken vocals); Grachan Moncur III (trombone); Reggie Workman (bass); Andrew Cyrille (drums). Recorded live at The Jazz Standard, New York, New York on September 23-24, 2000. Includes liner notes by Roswell Rudd and Howard Mandel. Personnel: Archie Shepp (vocals, tenor saxophone, piano); Grachan Moncur III, Roswell Rudd (trombone); Reggie Workman (acoustic bass); Andrew Cyrille (drums). Audio Mixer: Chris Andersen. Liner Note Authors: Howard Mandel; Roswell Rudd. Recording information: The Jazz Standard, New York, NY. Archie Shepp and Roswell Rudd originally made their mark in the 1960s as pioneers of the avant-garde or free jazz movement. Nearly 35 years after their last performance together they reunited for one night at the Jazz Standard for the performance captured on LIVE IN NEW YORK. Joining Shepp and Rudd for the occasion were veterans Reggie Workman on bass, Andrew Cyrille on drums, and Grachan Moncur III on second trombone. The ensemble performs a variety of tunes ranging from mellow bop to atonal explorations and presenting a healthy cross-section of the duo's careers, together and apart. Shepp momentarily puts down his sax to sing along with a few of his piano compositions, and though he's not the most accomplished singer or pianist, his songs are heartfelt and do not detract from the momentum of the album. Also in attendance is revolutionary poet Amiri Baraka delivering his interpretation of the blues in his classic beat-style poetry. LIVE IN NEW YORK relives an expressive, experimental time in jazz history.

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Attica Blues by Archie Shepp (CD - 03/11/2003)
 

Attica Blues by Archie Shepp (CD - 03/11...

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Attica Blues by Archie Shepp (CD - 03/11/2003)
"Attica Blues" (03/11/2003) Jazz Instrument Shepp, Archie, Impulse!Personnel includes: Archie Shepp (soprano & tenor saxophones); Marion Brown (alto saxophone, flute, bamboo flute, percussion); Walter Davis Jr. (piano, electric piano); Joe Lee Wilson (vocals), William Kunstler (spoken vocals); John Blake, Leroy Jenkins (violin); Cal Massey (flugelhorn); Charles Greene (trombone); Cornell Dupree (guitar); Jimmy Garrison (bass); Beaver Harris, Billy Higgins (drums); Juma Sultan (percussion). Recorded at A&R Recording, New York, New York on January 24-26, 1972. Originally released on Impulse (9222). Personnel: Archie Shepp (soprano saxophone, tenor saxophone); Albertine Robinson, Joshie Armstead (vocals, background vocals); Henry Hull, Romulus Franceschini, Waheeda Massey, Joe Lee Wilson (vocals); Cornell Dupree (guitar); Lakshminarayana Shankar, John Blake, Leroy Jenkins (violin); Ronald Lipscomb, Calo Scott (viola, cello); Marion Brown (flute, bamboo flute, alto saxophone, percussion); Clarence White (alto saxophone); Billy Robinson , Roland Alexander, Bill Robinson (tenor saxophone); James Ware (baritone saxophone); Michael Ridley, Charles McGhee, Roy Burrowes (trumpet); Clifford Thornton (cornet); Cal Massey (flugelhorn); Kiane Zawadi, Charles Stephens, Charles "Majeed" Greenlee (trombone); Hakim Jami (euphonium); Walter Davis (piano, electric piano); Dave Burrell, Walter Davis, Jr. (electric piano); Roland Wilson (electric bass, bass guitar); Beaver Harris, Billy Higgins (drums); Nene DeFense, Juma Sultan, Ollie Anderson (percussion). Recording information: A&R Studios, New York, NY (01/24/1972-01/26/1972). Photographer: Charles Stewart. By the early 1970s Archie Shepp was moving away from his no-holds-barred free-jazz assault and into experiments with swing, R&B, and funk. Such is the case with 1974's ATTICA BLUES, an expansive, freewheeling album that finds the saxophonist at the height of his style-blending fearlessness. This is not to say the album isn't avant garde: quite the contrary. Shepp's solos are fleet, acrobatic, and searingly intense. Shepp's appropriation of R&B and funk can be heard throughout, especially on album standouts, "Blues for Brother George Jackson" and the title track, which rides a hard funk groove. Interestingly, the album also has its share of vocal-led tracks, including the ballad "Steam" sung by Joe Lee Wilson. The "recitation" songs serve to date the album a bit, but overall ATTICA BLUES stands as one of the best recordings in Shepp's fine discography.

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Duet by Archie Shepp (CD - 10/01/2005)
 

Duet by Archie Shepp (CD - 10/01/2005)

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Duet by Archie Shepp (CD - 10/01/2005)
"Duet" (10/01/2005) Jazz Instrument Shepp, Archie, Denon RecordsPersonnel: Archie Shepp (soprano, alto & tenor saxophones); Dollar Brand (piano). Personnel: Archie Shepp (soprano saxophone, alto saxophone, tenor saxophone); Dollar Brand, Abdullah Ibrahim (piano). Recording information: Nippon Columbia 1st Studio, Tokyo, Japan (06/05/1978). 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. ~ Brian Olewnick

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The Way Ahead by Archie Shepp (CD - 10/06/1998)
 

The Way Ahead by Archie Shepp (CD - 10/0...

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The Way Ahead by Archie Shepp (CD - 10/06/1998)
"The Way Ahead" (10/06/1998) Jazz Instrument Shepp, Archie, Impulse!This 1998 reissue contains 2 bonus tracks. Personnel: Archie Shepp (tenor saxophone); Charles Davis (baritone saxophone); Jimmy Owens (trumpet); Grachan Moncur III (trombone); Walter Davis Jr., Dave Burrell (piano); Ron Carter, Walter Booker (bass); Beaver Harris, Roy Haynes (drums). Producer: Bob Thiele Reissue producer: Michael Cuscuna Recorded at RCA Studios, New York, New York, January 29, 1968 and National Recording Studios, New York, New York, February 26, 1969. Includes liner notes by Michael Cuscuna. Digitally remastered by Erick Labson using 20-bit technology at MCA Studios. This is part of Impulse's The New Thing Series. Personnel: Archie Shepp (tenor saxophone); Charles Davis (baritone saxophone); Jimmy Owens (trumpet, flugelhorn); Grachan Moncur III (trombone); Dave Burrell, Walter Davis, Jr. (piano); Roy Haynes, Beaver Harris (drums). Audio Remasterer: Erick Labson. Liner Note Author: Michael Cuscuna. Recording information: National Recording Studios, New York, NY (01/29/1968/02/26/1969); RCA Studios, New York, NY (01/29/1968/02/26/1969). Photographer: Chuck Stewart. 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. The final two tracks on the CD are sessions left over from February 1969 that replace Davis with Dave Burrell and Carter with Walter Booker, and add Charles Davis on baritone with Harris on skins. They sound apart from these sessions, though; there is a fury and darkness in them that sucks a bit of the joyous party feel from the original album. ~ Thom Jurek

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Soul Song by Archie Shepp (CD - 01/01/2006)
 

Soul Song by Archie Shepp (CD - 01/01/20...

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Soul Song by Archie Shepp (CD - 01/01/2006)
"Soul Song" (01/01/2006) Jazz Instrument Shepp, Archie, Enja (USA)Personnel: Archie Shepp (soprano & tenor saxophones), Kenny Werner (piano), Santi DeBriano (bass), Marvin "Smitty" Smith (drums). Recorded on December 1, 1982. Personnel: Archie Shepp (vocals, soprano saxophone, tenor saxophone); Kenny Werner (piano); Santi Debriano (bass guitar); Marvin Smith, Marvin "Smitty" Smith (drums). Recording information: Studio N, Cologne, W.Germany. Photographers: Patti Perret; Deborah Feingold. This is one of Archie Shepp's more erratic sets. On the 15«-minute "Mama Rose," the great tenor (who is joined by pianist Ken Werner, bassist Santi Debriano and drummer Marvin "Smitty" Smith)...plays his somewhat out-of-tune soprano and takes an eccentric vocal..The 18«-minute "Geechee" is a fine, lengthy workout for Shepp's emotional tenor... ~ Scott Yanow This is one of Archie Shepp's more erratic sets. On the 15 1/2 minute "Mama Rose," athe great tenor (who is joined by pianist Ken Werner, bassist Santi Debriano and drummer Marvin "Smitty" Smith) unfortunately plays his out-of-tune soprano and takes an eccentric vocal. Additionally, Werner's brief "Soul Song" tends to wander without much direction. Much better is the 18 1/2 minute "Geechee," a lengthy workout for Shepp's emotional tenor, but due to this release's weak first half, it can be safely passed by. ~ Scott Yanow

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Bill Dixon/Archie Shepp by Bill Dixon (CD - 10/01/2005)
 

Bill Dixon/Archie Shepp by Bill Dixon (C...

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Bill Dixon/Archie Shepp by Bill Dixon (CD - 10/01/2005)
"Bill Dixon/Archie Shepp" (10/01/2005) Jazz Instrument Dixon, Bill, Savoy Jazz (USA)Bill Dixon 7-Tette: Bill Dixon (trumpet, flugelhorn); Ken McIntyre (alto saxophone, oboe); George Barrow (tenor saxophone); Howard Johnson (baritone saxophone, tuba); David Izenzon, Hal Dodson (bass); Howard McRae (drums). Archie Shepp & The New York Contemporary 5: Archie Shepp (tenor saxophone); John Tchicai (alto saxophone); Don Cherry (cornet); Ted Curson (trumpet, picocolo trumpet); Ronnie Boykins (bass); Sonny Murray (drums). Producers: Bill Dixon, Archie Shepp. Reissue producer: Ben Young, Dan Marx. Recorded at Savoy Studios, Newark, New Jersey on March 4 & 5, 1964. Originally released on Savoy (12184). Includes liner notes by Ben Young. Digitally remastered by Paul Reid III (Denon Digital LLC).

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Deals on Archie shepp in Jazz Instrumental Music. Visit BizRate to find the best deals on Jazz Instrumental Music. See which Music stores have the Archie shepp that you want. Read reviews on Music merchants and buy with confidence. Find savings on Four for Trane by Archie Shepp (CD - 04/08/1997) - Live in Antibes, Vol. 2 by Archie Shepp (CD - 06/15/2004).