Archie Shepp Albums (76)
What The Critics Say
It had been quite some time in between releases for Archie Shepp, and this 2009 issue adds to his reputation as a musician who has always been known for mixing progressive modern jazz with spoken word. This live performance in Milano, Italy, at the Teatro Manzoni during the Festival Apertivo teams Shepp with a formidable band alongside fellow creative alto saxophonist Oliver Lake, drummer Hamid Drake, solid improvising bassist Joe Fonda, and rapper/poet Napoleon Maddox. The mutual respect between all of these artists is clear and present, as the group weaves in the outspoken music of the saxophonists with bold invention and pointed statements about current society and politics via Napoleon's wordplay. It's an engaging set of music that comes expected from the participants, but is consistently surprising in its depth and substance about recent events. If you remember Shepp's great story of "Mama Rose" from years past, "Revolution" will strike a similar chord as he talks about his grandma; slavery; a time with no instruments aside from bodies; and a trip from Philadelphia to San Francisco to Baghdad, looking for the sun amidst war. Maddox is quite the lithe linguist, speaking about "doing what you got to do" on the funky rap "Dig," and railing against the foibles of the George W. Bush administration's "illegal business controlling America" during the lengthy "Ill Biz." Lake and Shepp together push the harmonic envelope like few other sax tandems on the modal Latin jazz piece "Casket," while a third saxophonist, Cochemea Gastelum, joins in on occasion. For most listeners, a highly modified version of Led Zeppelin's "Kashmir" will seem an odd inclusion, but the band pulls it off. The original plodding drum beat of John Bonham is replaced by a much faster funky rhythm as the horns chip and bark while the frantic, manic rapping of Maddox refers to letting life pass by too fast, enjoying the natural and spiritual, and saying "I live because I was once dead." As these players have certainly expressed their share of freedom through music, so they do once again with an upbeat fervor, timely themes, and the animated Maddox raising the level of this hybrid art form to new contemporary heights. In many ways, it's a triumphant return for the unflappable and ever evolving Archie Shepp. ~ Michael G. Nastos, All Music Guide
What The Critics Say
Kwanza is a curious Archie Shepp recording. Released in 1969 on Impulse, it features cuts recorded between September 1968 and August 1969 with an assortment of lineups. Four of the album's five cuts were produced by Bob Thiele, and one, "Slow Drag," by Ed Michel. Shepp composed three tunes here, and he is in the company of musicians such as Grachan Moncur III (who composed "New Africa"), Jimmy Owens, Dave Burrell, Wally Richardson, Bob Bushnell, Bernard Purdie and Beaver Harris, Leon Thomas, Charles Davis, Woody Shaw, Cedar Walton, Wilbur Ware, Joe Chambers, Cecil Payne, and others. As the title might suggest, Kwanza is a joyful record, full of celebration in blues and jazz. "Back Back" opens the set with a colossal funky blues that feels like an out version of the JB's with Burrell kicking it on B-3. The all-too-brief "Spoo Dee Doo," showcases Thomas' unique, and truly awesome vocal stylings along with Tasha Thomas and Doris Troy providing a swinging backing R&B chorus. "New Africa" is the most vanguard track here, with a different rhythm section than on "Back Back," and no guitar, Burrell returns to his piano. It begins in a manner that suggests anger, but not rage. It becomes an edgeless, rounded meditation on joy and gratitude, a statement of purpose at realization and transcendence with Shepp, Owens. and Davis playing alongside Moncur as a monumental choral line in timbres; textures, big harmonic reaches and ultimately resolution. "Slow Drag," is a funky blues tune, it struts a minor key line that feels like a mutated "Wade in the Water," but its Latin rhythms and the killer bass work of Wilbur Ware make the cut a standout. The set closes with Cal Massey's "Bakai," a tune that walks a fringed line on the inside and swings like mad. Kwanza may not be one of Shepp's better known recordings, but it is certainly one of his fine ones. ~ Thom Jurek, All Music Guide
What The Critics Say
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, All Music Guide
What The Critics Say
Tenor saxophonist Archie Shepp's third release for the Impulse label collects valuable loose ends recorded between March and August 1965. Among the highlights are a passionate reading of Duke Ellington's "In a Sentimental Mood" and the title piece, a moving tribute to WEB DuBois, featuring the haunting soprano vocalist Christine Spencer employing a distinct 20th century classical influence, with Shepp on piano. The CD version of On This Night includes an alternate take of "The Mac Man," three of "The Chased," and a reading of his poem "Malcolm, Malcolm, Semper Malcolm." Shepp is the solo horn on these dates, playing at peak form with contributions from vibraphonist Bobby Hutcherson early in his career, David Izenzon or Henry Grimes on bass, and four rotating drummers, including Rashied Ali, J.C. Moses, Joe Chambers, and Ed Blackwell, playing a variety of percussion. ~ Al Campbell, All Music Guide
What The Critics Say
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, All Music Guide
What The Critics Say
This is the first release from a new label dedicated to the music of Archie Shepp. At this point in his career, the saxophonist's output has shown a serious lack of consistency, but this meeting between two longtime accomplices proves that he can still deliver. Originally, this was German pianist Siegfried Kessler's live date, and Kessler incidentally decided to invite Shepp. As his excellent recordings with Horace Parlan also bear witness, the saxophonist seems to entertain a special relationship with pianists. He met Kessler in the late '60s and this date gives them the opportunity to revisit some themes that they have often played together, such as the opener, an epic rendition of "Les Matins Noirs," which features Shepp on soprano and is alone worth the price of admission. His raw and emotional blowing is instantly gripping. Elsewhere, he remains in full command of his instrument, constantly switching from tenor to soprano, and delivers some beautifully heartfelt and expressive lines -- he has seldom sounded so moving and dramatic. Kessler can be economical, which always leaves many options to the saxophonist, but what strikes most is his percussive style sustained with a very strong left hand. On most tracks, Shepp sings and his smoky voice has enough endearing power to overcome its limitations. While First Take is far from the innovations and urgency of Shepp's early recordings, it is a fine addition to the saxophonist's collection. ~ Alain Drouot, All Music Guide
'Archie Shepp & The New York Contemporary Five'
Release Date 9/7/2004
Tracks 10
Label Storyville
See Album Tracklist and Review
What The Critics Say
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, All Music Guide
What The Critics Say
This LP from the English Affinity LP is a mixed bag. Best is "Rain Forrest" on which tenor saxophonist Archie Shepp, in a collaboration with trombonist Grachan Moncur III, pianist Vince Benedetti, bassist Malachi Favors, and drummer Philly Joe Jones, perform some stirring free jazz; the interplay between Shepp and Jones is particularly exciting. On a four-and-a-half minute "Oleo," Shepp "battles" some bebop with fellow tenor Hank Mobley, but the other two tracks, a workout for the leader's erratic soprano on "Mamarose," and his emotional recitation on "Poem for Malcolm," are much less interesting, making this a less than essential release despite "Rain Forrest." ~ Scott Yanow, All Music Guide
