ROLAND KIRK - Volunteered Slavery (1969-2005) Atlantic Masters | FLAC (tracks+.cue), lossless

Before the issue of Blacknuss, Rahsaan Roland Kirk was already exploring ways in which to make soul and R&B rub up against jazz and come out sounding like deep-heart party music. Volunteered Slavery, with its beat/African chanted poetry and post-bop blues ethos was certainly the first strike in the right direction. With a band that included Charles McGhee on trumpet, Dick Griffin on trombone, organist Mickey Tucker, bassist Vernon Martin, drummers Jimmy Hopps and Charles Grady, as well as Sony Brown, Kirk made it work. From the stinging blues call and response of the tile track through the killer modern creative choir jam on "Spirits Up Above" taking a small cue from Archie Shepp's Attica Blues. But it's when Kirk moves into the covers, of "My Cherie Amour," "I Say a Little Prayer," and the Coltrane medley of "Afro Blue," "Lush Life," and "Bessie's Blues," that Kirk sets it all in context: how the simplest melody that makes a record that sells millions and touches people emotionally, can be filled with the same heart as a modal, intricate masterpiece that gets a few thousand people to open up enough that they don't think the same way anymore. For Kirk, this is all part of the black musical experience. Granted, on Volunteered Slavery he's a little more formal than he would be on Blacknuss, but it's the beginning of the vein he's mining. And when the album reaches its end on "Three for the Festival," Kirk proves that he is indeed the master of any music he plays because his sense of harmony, rhythm, and melody comes not only from the masters acknowledged, but also from the collective heart of the people the masters touched. It's just awesome.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Volunteered Slavery 5'43
Rahsaan Roland Kirk
2     Spirits up Above 3'37
Rahsaan Roland Kirk
3     My Cherie Amour 3'20
Henry Cosby / Sylvia Moy / Stevie Wonder
4    Search for the Reason Why 2'07
Rahsaan Roland Kirk
5     I Say a Little Prayer 7'59
Burt Bacharach / Hal David
6     Roland's Opening Remarks 0'41
Rahsaan Roland Kirk
7     One Ton 5'02
Rahsaan Roland Kirk
8     Ovation and Roland's Remarks 1'42
Rahsaan Roland Kirk
9     A Tribute to John Coltrane: Lush Life/Afro-Blue/Bessie's Blues 8'14
John Coltrane / Mongo Santamaría / Billy Strayhorn
10     Three for the Festival 4'23
Rahsaan Roland Kirk
Credits :
Backing Vocals [Vocal Backgrounds] – Roland Kirk Spirit Choir
Bass – Vernon Martin
Drums – Charles Crosby, Jimmy Hopps, Sonny Brown
Piano – Ron Burton
Tenor Saxophone, Flute, Nose Flute, Horns [Mazello, Stritch], Gong, Whistle, Vocals – Roland Kirk
Trombone – Dick Griffin
Trumpet – Charles McGhee

RAHSAAN ROLAND KIRK - Blacknuss (1971-2002) FLAC (tracks+.cue), lossless

From its opening bars, with Bill Salter's bass and Rahsaan's flute passionately playing Bill Withers' "Ain't No Sunshine," you know this isn't an ordinary Kirk album (were any of them?). As the string section, electric piano, percussion, and Cornel Dupree's guitar slip in the back door, one can feel the deep soul groove Kirk is bringing to the jazz fore here. As the tune fades just two and a half minutes later, the scream of Kirk's tenor comes wailing through the intro of Marvin Gaye's "What's Goin' On," with a funk backdrop and no wink in the corner -- he's serious. With Richard Tee's drums kicking it, the strings developing into a wall of tension in the backing mix, and Charles McGhee's trumpet hurling the long line back at Kirk, all bets are off -- especially when they medley the mother into "Mercy Mercy Me." By the time they reach the end of the Isleys' "I Love You, Yes I Do," with the whistles, gongs, shouting, soul crooning, deep groove hustling, and greasy funk dripping from every sweet-assed note, the record could be over because the world has already turned over and surrendered -- and the album is only ten minutes old! Blacknuss, like The Inflated Tear, Volunteered Slavery, Rip, Rig and Panic, and I Talk to the Spirits, is Kirk at his most visionary. He took the pop out of pop and made it Great Black Music. He took the jazz world down a peg to make it feel its roots in the people's music, and consequently made great jazz from pop tunes in the same way his forbears did with Broadway show tunes. While the entire album shines like a big black sun, the other standouts include a deeply moving read of "My Girl" and a version of "The Old Rugged Cross" that takes it back forever from those white fundamentalists who took all the blood and sweat from its grain and replaced them with cheap tin and collection plates. On Kirk's version, grace doesn't come cheap, though you can certainly be a poor person to receive it. Ladies and gents, Blacknuss is as deep as a soul record can be and as hot as a jazz record has any right to call itself. A work of sheer blacknuss!
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Ain't No Sunshine 2'26
Renaldo Benson / Al Cleveland / Marvin Gaye / Bill Withers
2     What's Goin' On/Mercy Mercy Me (The Ecology) 3'47
Renaldo Benson / Al Cleveland / Marvin Gaye
3     I Love You, Yes I Do 2'49
Chris Allen / Johnny Cameron / Rahsaan Roland Kirk
4     Take Me Girl, I'm Ready 3'18
Johnny Bristol / Pam Sawyer / LaVerne Ware
5     My Girl 3'06
Smokey Robinson / William Robinson / Ronald White
6     Which Way Is It Going 2'26
Rahsaan Roland Kirk
7     One Nation 3'41
Princess Patience Burton
8     Never Can Say Goodbye 4'02
Clifton Davis
9     Old Rugged Cross 7'15
Traditional
10     Make It with You 4'50
David Gates
11     Blacknuss 5'12
Rahsaan Roland Kirk
Credits :
Bass – Henry Pearson (pistas: 1, 8, 11), Bill Salter (pistas: 2 to 7, 9, 10)
Congas – Richard Landrum (pistas: 1, 8, 11)
Congas, Percussion [Cabassa] – Arthur Jenkins (pistas: 2 to 7, 9, 10)
Drums – Bernard Purdie (pistas: 2 to 7, 9, 10), Khalil Mhdri (pistas: 1, 8, 11)
Flute, Tenor Saxophone, Saxophone [Manzello, Stritch], Gong, Whistle [Police Whistle], Arranged By – Rahsaan Roland Kirk
Guitar – Billy Butler (pistas: 1, 8, 11), Cornell Dupree (pistas: 2 to 7, 9, 10), Keith Loving (pistas: 2 to 7, 9, 10)
Organ – Mickey Tucker (pistas: 2 to 7, 9, 10)
Percussion – Joe Habad Texidor
Piano – Richard Tee (pistas: 2 to 7, 9, 10), Sonelius Smith (pistas: 1, 8, 11)
Trombone – Dick Griffin (pistas: 2 to 7, 9, 10)
Trumpet – Charles McGhee (pistas: 2 to 7, 9, 10)
Vocals – Rahsaan Roland Kirk (pistas: 1, 5, 8, 11)

RAHSAAN ROLAND KIRK - Prepare Thyself To Deal With a Miracle (1973-2002) FLAC (tracks+.cue), lossless

Recorded in 1973, this is yet another criminally underappreciated Rahsaan Roland Kirk recording from the last phase of a remarkable career. This is perhaps Kirk's most experimental recording in that it involves his most involved performing on multiple horns and flutes -- including his infamous and wonderful nose flute -- and working with drones on a more surface level. Given Kirk's system of playing three horns at once, the drone horn was always a part of his sonic architecture. The difference here is that the melodic and improvisational lines take a back seat on tunes such as the opening "Salvation and Reminiscing," where he makes fantastic use of a baby E-flat saxophone, and on "Celestial Bliss," on which he is accompanied on his "black mystery pipes" only by percussion. On the medley "Seasons: One Mind Winter/Summer/Ninth Ghost," Kirk begins with the nose flutes, playing a part of "Balm in Gilead," before bringing in a six-piece string orchestra to play behind him as he improvises on all the melodies and modes. And this improvisation is not just a series of out arpeggios playing legato and running through and over the changes, but intricately nuanced, gentle, and architecturally sophisticated wanderings. Despite the beauty of the album's first three tracks, it is on the closer, the 21-and-a-half-minute "Saxophone Concerto," where Kirk most leaves his mark as a composer and innovator on the jazz world. Kirk comes out blowing literally like a train and weaves in, with vocalists Jeanne Lee and Dee Dee Bridgewater, a series of muted horn lines and rhythm figures. The band is 16 pieces total, and the concerto is structured in movements from an intro in which the purpose is stated: "time for America to discover some of its true Black miracles," wherein bebop and hard bop shimmy up against free modes and articulations by the rhythm section and the other horns. Kirk may solo on top with his tenor, but he holds close to the rhythm section's articulation of mutated blues. From here, Latin and faux classical chromatics are shaded into the whole as the pace becomes more and more frenetic, and just as the piece becomes perhaps circus-like, Kirk and company strip it all back and out, into a free universe washed by improvising vocalists, crashing cymbals, droning brass, and rumbling tom-toms before it's all a hush of unidentifiable sounds except for those of breaking glass. There are numerous metaphors and metonyms here, but they will not come to the listener until later, when she or he regains the conscious notion of breathing.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Salvation And Reminiscing 5:14
Backing Vocals – Dee Dee Bridgewater, Jeanne Lee
Clarinet – Rahsaan Roland Kirk
Conductor – Dick Griffin
Seasons (10:32)
Nose Flute, Flute – Rahsaan Roland Kirk
2a    One Mind Winter/Summer    
2b    Ninth Ghost    
3    Celestial Bliss 5:47
Backing Vocals – Dee Dee Bridgewater, Jeanne Lee
Performer [Black Mystery Pipes], Saxophone [Baby E Flat] – Rahsaan Roland Kirk
Saxophone Concerto (21:31)
Backing Vocals – Jeanne Lee
Tenor Saxophone – Rahsaan Roland Kirk
4a    Saxophone Miracle    
4b    One Breath Beyond    
4c    Dance Of Revolution
Credits :
Arranged By [Strings] – Rahsaan Roland Kirk
Bass – Henry Pearson
Cello – Kermit Moore
Drums – Robert Shy
English Horn, Oboe – Harry Smiles
Percussion – Ralph MacDonald, Sonny Brown
Piano – Ron Burton
Trombone – Dick Griffin
Trumpet – Charles McGhee
Viola – Al Brown
Violin – Gayle Dixon, Julien Barber, Sanford Allen, Selwart Clarke
Written-By – Rahsaan Roland Kirk

ARCHIE SHEPP - The Cry Of My People (1973-2004) RM | FLAC (tracks+.cue), lossless

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.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Rest Enough (Song to Mother) 4:41
Backing Vocals – Andre Franklin, Patterson Singers
Lead Vocals – Peggy Blue
Written-By – Archie Shepp
2     A Prayer 6:29
Arranged By, Conductor – Romulus Franceschini
Written-By, Arranged By – Cal Massey    
3     All God's Children Got a Home in the Universe 2:58
Written-By – Archie Shepp
4     The Lady 5:31 Arranged By – Romulus Franceschini
Arranged By, Conductor – Cal Massey
Vocals – Joe Lee Wilson
Written-By – Bob Ford
5     The Cry of My People 5:45
Arranged By – Romulus Franceschini
Written-By, Arranged By, Conductor – Cal Massey    
6     African Drum Suite, Pt. 1-2 0:35
Vocals – Joe Lee Wilson
Written-By – William G. Harris
7     African Drum Suite, Pt. 2 7:34 Arranged By, Conductor – Dave Burrell
Berimbau, Percussion [Brazilian] – Guilherme Franco
Bongos, Congas – Nene DeFense
Tambourine, Congas – Terry Quaye
Written-By – William G. Harris
8     Come Sunday 9:30
Arranged By, Conductor – Charles Greenlee
Backing Vocals – Patterson Singers
Lead Vocals – Joe Lee Wilson
Written-By – Duke Ellington
Credits
Bass – Jimmy Garrison (pistas: 2, 4 to 8)
Bass [Fender] – Ron Carter (pistas: 1, 3, 5)
Cello – Esther Mellon (pistas: 2, 4, 5, 7, 8), Pat Dixon (pistas: 2, 4, 5, 7, 8)
Drums – Beaver Harris (pistas: 3 to 5), Bernard Purdie (pistas: 1, 2)
Guitar – Cornell Dupree (pistas: 1, 3)
Percussion – Nene DeFense (pistas: 2, 4, 5, 8)
Piano – Dave Burrell (pistas: 6. 7), Harold Mabern (pistas: 1 to 5, 8)
Soprano Saxophone – Archie Shepp (pistas: 2, 4, 7)
Tambourine – Nene DeFense (pistas: 1, 3)
Tenor Saxophone – Archie Shepp (pistas: 3, 4, 5, 8)
Trombone – Charles Greenlee (pistas: 2 to 7), Charles Stephens (pistas: 2 to 5, 8)
Trumpet – Charles McGhee (pistas: 2 to 5, 7, 8)
Violin – Gayle Dixon (pistas: 2, 4, 5, 7, 8), Jerry Little (pistas: 4, 7, 8), John Blake (pistas: 2, 5), Leroy Jenkins (pistas: 2, 4, 5, 7, 8), Lois Siessinger (pistas: 2, 5), Noel DaCosta (pistas: 4, 7, 8)

ARCHIE SHEPP - Attica Blues Big Band (1979-2004) 2CD | FLAC (tracks+.cue), lossless

From the outset, Archie Shepp's terminally misunderstood Attica Blues on Impulse during the 1970s was an attempt by the saxophonist and composer to bring together the various kinds of African American musics under one heading and have them all express the conscience of the day. His ensemble featured singers, string players, horns, drums, guitars, etc. The sounds were a Gordian knot of jazz, free music, R&B, soul, groove, and even funk. In 1979 Shepp was given the opportunity to realize the project with an ensemble of his choosing at the Palais des Glaces in Paris (New York was already courting Wimpton Marsalis). Shepp chose 30 musicians and director/conductor Ray Copeland. Among the throng were saxophonists Marion Brown, John Purcell, Patience Higgins, and John Ware. Malachi Thompson led a five-trumpet section, and Steve Turre led the trombones, a young Brandon Ross played guitar, Avery Sharpe was one of two bassists, Clifford Jarvis held down the drum chair, Shepp played all his horns and piano -- though Art Matthews was the primary pianist on the gig. There were four vocalists and a string section. None of this would mean anything, of course, if the music weren't bad to the bone. From the opening moments of the "Attica Blues Theme, Pt. One" it becomes obvious that, with its drop-dead funky bassline and wailing soul vocals that create the mood, this will be a celebratory evening of education, protest, and groove. From here, Shepp moves the band into "Steam," with the funk and anger already present. But this track is far more laid-back in its big band arrangement than it was on the Shepp's Inner City version of some years before. It features a gorgeous vocal by Joe Lee Wilson, who has the chops of Sammy Davis Jr. and the depth of Big Joe Turner. And here is where Attica Blues truly begins, as "Steam" reaches its swinging nadir, and Shepp begins to fold in works by other composer such as Cal Massey ("Quiet Dawn"), Randy Weston ("Hi-Fly"), and Dave Burrell ("Crucificado") in with his own works, and the varying elements of free jazz and Latin music begin to make their presences felt on the R&B and swing accents that Attica Blues opens up for the magical treatise it is. Shepp's own playing is fell of depth and passion, though he leaves his fire music at home, preferring to work inside traditions and allow the music's freedom to dictate its own expression in places rather than as a whole. The history lesson moves on well into the second set with Frank Foster's "Simone" and Ramsey Lewis' gospel-tinged "Skippin," before coming out on the other end with a majestic resurgence of "Attica Blues" to bring it in. This is big band arranging and execution at its best; Shepp and Coleman make it all sound so easy, though charts are anything, but when you're fusing together so many different kinds of music. This is the high point of the latter part of Shepp's career, and it's a cultural crime that it's not available on an American label and sold as a work that belongs next to Mingus' Ah Um, Miles' Bitches Brew, Ornette's Science Fiction, and other notable works by the masters.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1 :
1-1    Attica Blues, Part 1 4:39
Arranged By, Conductor – Archie Shepp
Soloist, Soprano Saxophone – Archie Shepp
Soloist, Vocals – Irene Datcher
Written-By – A. Shepp, W.G. Harris
1-2    Steam 7:33
Arranged By, Conductor – Charles Greenlee
Soloist, Soprano Saxophone – Archie Shepp
Soloist, Trombone – Charles Greenlee
Soloist, Vocals – Joe Lee Wilson
Written-By – A. Shepp
1-3    Quiet Dawn 5:46
Arranged By – Cal Massey
Arranged By, Conductor – Ray Copeland
Soloist, Tenor Saxophone – Archie Shepp
Soloist, Vocals – Irene Datcher
Written-By – C. Massey
1-4    Hi-Fly 7:26
Arranged By – Melba Liston
Conductor – Ray Copeland
Soloist, Tenor Saxophone – Archie Shepp, Marvin Blackman
Soloist, Trumpet – Eddie Preston
Written-By – R. Weston
1-5    U-Jaama 7:41
Arranged By, Conductor – Charles Greenlee
Soloist, Tenor Saxophone – Archie Shepp
Soloist, Trombone – Charles Greenlee
Written-By – A. Shepp
1-6    Antes De Adios 2:50
Arranged By, Conductor – Terry Jenoure
Soloist, Guitar – Brandon Ross
Soloist, Vocals – Terry Jenoure
Written-By – T. Jenoure
1-7    Star Love 3:35
Arranged By, Conductor – Archie Shepp
Conch [Sea Shell] – Steve Turre
Soloist, Violin – Terry Jenoure
Written-By – A. Shepp
1-8    Moon Bees 6:05
Arranged By, Conductor – Archie Shepp
Soloist, Alto Saxophone – Marion Brown
Soloist, Tenor Saxophone – Marvin Blackman
Soloist, Trombone – Charles Greenlee, Charles Stephens, Malachi Thompson
Written-By – A. Shepp
Tracklist 2 :
2-1    Strollin' 6:10
Arranged By, Conductor – Ray Copeland
Soloist, Tenor Saxophone – Archie Shepp
Soloist, Trumpet – Charles McGhee
Soloist, Vocals – Joe Lee Wilson
Written-By – H. Silver
2-2    Ballad For A Child 5:37
Arranged By, Conductor – Archie Shepp
Soloist, Piano – Archie Shepp
Soloist, Vocals – Irene Datcher
Written-By – A. Shepp, W. G. Harris
2-3    Simone 7:34
Arranged By – Frank Foster
Conductor – Ray Copeland
Soloist, Piano – Art Matthews
Soloist, Soprano Saxophone – Archie Shepp
Soloist, Trumpet – Kamal Alim
Written-By – F. Foster
2-4    Crucificado 6:19
Arranged By, Conductor – Charles Greenlee
Soloist, Tenor Saxophone – Archie Shepp
Soloist, Trombone – Charles Greenlee
Soloist, Vocals – Joe Lee Wilson
Written-By – D. Burrell
2-5    A Change Has Come Over Me 5:35
Arranged By – Steve Turre
Conductor – Ray Copeland
Soloist, Vocals, Piano – Akua Dixon
Written-By – W. Hawkins
2-6    Goodbye Sweet Pops 5:54
Arranged By – Cal Massey, Romulus Franceschini
Arranged By, Conductor – Ray Copeland
Soloist, Soprano Saxophone – Archie Shepp
Written-By – C. Massey
2-7    Skippin' 4:29
Arranged By, Conductor – Ray Copeland
Soloist, Piano – Art Matthews
Soloist, Soprano Saxophone – Archie Shepp
Written-By – R. Lewis
2-8    Attica Blues, Part 2 8:43
Arranged By, Conductor – Archie Shepp
Soloist, Tenor Saxophone – Archie Shepp
Soloist, Vocals – Irene Datcher
Written-By – A. Shepp, W. G. Harris
Credits :
Acoustic Bass, Electric Bass – Avery Sharpe
Acoustic Bass, Tuba – Hakim Jami
Cello, Piano, Vocals – Akua Dixon
Directed By – Ray Copeland
Drums – Clifford Jarvis
Guitar – Brandon Ross
Percussion – Kevin Jones
Piano – Art Matthews
Saxophone, Flute – James Ware, John Purcell, Marion Brown, Marvin Blackman, Patience Higgins
Soprano Saxophone, Tenor Saxophone, Piano, Leader – Archie Shepp
Synthesizer – Clyde Crimer
Trombone – Charles "Majeed" Greenlee, Charles Stephens, Dick Griffin, Ray Harris, Steve Turre
Trumpet – Charles McGhee, Eddie Preston, Kamal Alim, Richard "Malachi" Thompson, Roy Burrowes
Viola – Carl Ector
Violin – Candice Greene
Violin, Vocals – Terry Jenoure
Vocals – Irene Datcher, Joe Lee Wilson

ARCHIE SHEPP SEXTET - My Man 'Tribute to Sidney Bechet' (1982-2009) FLAC (tracks), lossless

Tracklist :
1    Blues For Bechet 6:29
Written By – Archie Shepp
2    Petite Fleur 13:28
Written By – Sidney Bechet
3    Passeport To Paradise 10:04
Written By – Sidney Bechet
4    My Man 4:13
Written By – Albert Willemetz, Channing Pollock, Jacques Charles, Maurice Yvain
5    Premier Bal 10:43
Written By – Sidney Bechet
Credits :
Bass – Santi Debriano
Drums – John Betsch
Flute – Archie Shepp (pistas: 2)
Piano – Archie Shepp (pistas: 1), Charles Eubanks
Soprano Saxophone – Archie Shepp
Trumpet – Charles McGhee
Vocals – Michelle Wiley (pistas: 1, 4)

ARCHIE SHEPP - Down Home New York (1984) FLAC (tracks+.cue), lossless

Archie Shepp was the picture of rebellion and anger in the 1960s, but he became the voice of swing, blues and classicism in the 1980s. Shepp displayed his penchant for honking R&B and soulful blues on this 1984 date. The title piece was a jaunty stroll, as was the celebratory "Straight Street." Shepp turned to impressionistic fare with his version of Thelonious Monk's "Round Midnight." The group included a great drummer in Marvin Smith and also other competent players, although Saheb Sarbib sometimes did not offer as full and aggressive a backbeat as needed. But Shepp's swaggering, confident tone and style maintained the pace. Ron Wynn
Tracklist :
1     Down Home New York 10:50
Archie Shepp
2    'Round About Midnight 9:13
Bernie Hanighen / Thelonious Monk / Cootie Williams
3     May 16th 9:06
Saheb Sarbib   
4     The 4th World 6:02
Archie Shepp   
5     Straight Street 6:36
John Coltrane   
Credits
Bass, Electric Bass, Voice – Saheb Sarbib
Drums, Voice – Marvin "Bugalu" Smith
Piano, Voice – Ken Werner
Tenor Saxophone, Soprano Saxophone, Voice – Archie Shepp
Trumpet, Voice – Charles E. McGhee
Voice – Bazzi Bartholomew Gray