ANTHONY BRAXTON | THREE MOTIONS - Impressions (1979) lp | FLAC (tracks), lossless

Tracklist :
A1    Impressions 15:31
Written-By – John Coltrane
A2    Double Three 12:16
Written-By – Anthony Braxton, Fritz Novotny
B    Trio ACW 25:03
Written-By – Anthony Braxton, Clifford Thornton, Walter Muhammad Malli
Credits :
Alto Saxophone [Alto Sax] – Anthony Braxton
Bass – Heinz Jäger (pistas: A)
Clarinet [E-flat Clarinet] – Fritz Novotny (pistas: A2)
Drums – Muhammad Malli (pistas: A1), Walter Schiefer (pistas: A2)
Electric Piano – Paul Fickl (pistas: A1)
Flute [Arabian] – Fritz Novotny (pistas: A1)
Painting [Cover] – Muhammad Malli
Percussion – Walter Schiefer (pistas: A1)
Soprano Saxophone [Soprano Sax] – Muhammad Malli (pistas: A2, B)
Tenor Saxophone [Tenor Sax] – Paul Fickl (pistas: A2)
Trumpet – Clifford Thornton (pistas: B)
Violin – Paul Fickl (pistas: A1)

ARCHIE SHEPP - Blasé + Live At The Pan-African Festival (2001) 2CD | FLAC (tracks+.cue), lossless

As the '60s drew to a close in a hail of blood and lead, jazz gradually began to close its doors. What had blossomed in the '50s and '60s as young men struggled to raise a music out of the whorehouses of New Orleans and into the concert halls turned into something less and more than it had been. Musicians like Archie Shepp no longer looked to the future or to what they might borrow from classical forms. Instead, they looked back to the cotton fields, the slave market, and the slum to find their voice. The music took an angry turn, emphatically stating, "This is our music." Stunned by the assassinations of Martin and Malcolm, many young musicians turned from a country and a culture they thought had betrayed them. Archie Shepp went to Paris. There, in the summer of 1969, he cut these albums, each a classic in its own right, each a milestone in an under-appreciated career. Blasé looks back to the blues, soaked in harmonica and the brooding duet of Shepp's throaty tenor and Jeanne Lee's magnificent, pensive voice. The mood is dark, but proud and unyielding. This is the sound of those who have been wounded, those who will rise yet again. The overall effect is like some wonderful, alternate version of Porgy & Bess, an expression of hope and dignity where few would bother to look. The live record that closes the set finds Shepp reaching deeper into the music's past, going all the way to Algiers to play in the streets with whoever wants to lend a hand. The metaphoric value of that union is profoundly moving. The sound of the music is a joy, and one that will reward repeated listening. The '60s weren't a lot of fun for black musicians, regardless of what happened to flower power. This set is proof that for all the abuse that was heaped on them by their nation, for all the disappointments they endured, men and women could somehow emerge with their dignity intact. Rob Ferrier
Blasé (1969)   
1-1    My Angel    10:08
 Archie Shepp
1-2    Blasé    10:25
 Archie Shepp
1-3    There Is A Balm In Gilead 5:57
 Archie Shepp
Trumpet, Flugelhorn – Lester Bowie
1-4    Sophisticated Lady    5:11
 Duke Ellington / Irving Mills / Mitchell Parish
1-5    Touareg    9:15
 Archie Shepp
Live At The Pan-African Festival (1969)
2-1    Brotherhood At Ketchaoua 15:55
 Archie Shepp
Performer – Algerian Musicians
2-2    We Have Come Back
 Archie Shepp
Bass – Alan Silva 31:19
Drums – Sunny Murray
Performer – Algerian Musicians, Tuareg Musicians
Credits
Bass – Malachi Favors (pistas: 1-1 to 1-5)
Cornet – Clifford Thornton (pistas: 2-1, 2-2)
Drums – Philly Joe Jones (pistas: 1-1 to 1-5)
Harmonica – Chicago Beau (pistas: 1-1, 1-2), Julio Finn (pistas: 1-1, 1-2)
Piano – Dave Burrell (pistas: 1-1 to 1-4, 2-2)
Tenor Saxophone, Arranged By – Archie Shepp
Trombone – Grachan Moncur III (pistas: 2-1, 2-2)
Vocals – Jeanne Lee (pistas: 1-1 to 1-4)

ARCHIE SHEPP - Black Gipsy (1970-2004) RM | FLAC (tracks+.cue), lossless

Black Gipsy is an interesting album, not just because it's one of the very few dates where Archie Shepp plays soprano exclusively, but because the album also features a harmonica player, Leroy Jenkins on viola, and a vocalist named Chicago Beauchamp (aka Chicago Beau), who also performed with the Art Ensemble of Chicago and Jimmy Dawkins. This is in addition to Clifford Thornton, Noah Howard, Sunny Murray, and the great Dave Burrell on piano. On "Black Gipsy," after an intro by Jenkins, Murray and bassist Earl Freeman set up a powerful martial groove, pushed by Burrell's low-end piano work. The horns and harmonica use this as a launching point, while Chicago Beauchamp sporadically spouts his street poetry. "Epitaph of a Small Winner" is something of a travelogue suite, starting in Rio de Janeiro with a light, upbeat melody. Casablanca is next, where the proceedings become a bit mellower and mysterious, then it's on to a near bluesy romp for the last stop in Chicago. "Pitchin' Can" closes the album with more ensemble playing over another upbeat theme based on a simple ostinato. This music gets intense, but melody is always at its core: this is not just a free blowing session. The rhythm section keeps things well grounded, aided greatly by Burrell's marvelous comping while the horns and harmonica take the melodies and run with them. Good stuff. Sean Westergaard
Tracklist :
1    Damn If I Know (The Stroller) 6'12
Written-By – Walter Davis Jr.
2    Frankenstein 13'50
Written-By – Grachan Moncur III
3    Fiesta 9'54
Written-By – Archie Shepp
4    Sophisticated Lady 7'08
Written-By – Duke Ellington
5    New Africa 12'55
Written-By – Grachan Moncur III
6    Bakai 10'04
Written-By – Cal Massey
Credits
Alto Saxophone – Noah Howard
Double Bass – Earl Freeman
Drums – Sonny Murray
Harmonica – Julio Finn
Piano – Dave Burrell
Soprano Saxophone – Archie Shepp
Trumpet – Clifford Thornton
Viola – Leroy Jenkins
Vocals – Chicago Beauchamp

ARCHIE SHEPP - Coral Rock (1970) lp | FLAC (tracks), lossless

Coral Rock features an absolutely monster free jazz lineup. Fans of other releases on America or the BYG Actuel series should be familiar with a number of these sidemen: Bobby Few, Clifford Thornton, Muhammad Ali, Joseph Jarman. Particularly of interest, though, might be the under-recorded Alan Shorter, who contributed the title track. This piece is especially reminiscent of "Mephistopheles," a tune that appeared (in different capacities) on his brother Wayne's similarly great Blue Note LP The All Seeing Eye and certain reissue pressings of the self-titled Marion Brown record on ESP. Like "Mephistopheles," "Coral Rock" features a lumbering, march-like bassline and incredibly dissonant head. "Coral Rock," however, is much looser and, for this reason, it would be difficult to imagine it on a Blue Note release of any kind. This is free jazz straight out of the late-'60s/early-'70s Paris scene. Very serious stuff. That having been said, the inclusion of the standard "I Should Care" may come as a surprise, but one should keep in mind that no matter how far out Archie Shepp got, his roots have always been firmly planted in the past. It is seemingly presented here more as a vehicle for pianist Bobby Few than anything else and, within Shepp's catalog, might be compared to the free blues of "Damn If I Know (The Stroller)" from his 1968 Impulse LP, The Way Ahead. This session was reissued in the States by Prestige. Brandon Burke
SIDE A     Coral Rock 21'35
Alan Shorter
SIDE B     I Should Care 14'05
Sammy Cahn / Axel Stordahl / Paul Weston
Credits :
Bass – Bob Reid
Congas [Conga Drums] – Djibrill
Drums – Mohamed Ali
Flugelhorn [Flugal Horn] – Alan Shorter
Percussion – Ostaine Blue Warner
Piano – Bobby Few
Tenor Saxophone [Tenor-Sax], Piano – Archie Shepp
Trumpet – Lester Bowie
Valve Trombone [Valve-Trombone] – Clifford Thornton