AL COOPER'S SAVOY SULTANS – 1938-1941 (1993) The Classics Chronological Series – 728 | FLAC (tracks+.cue), lossless

Trombonist Dicky Wells once said that Al Cooper's Savoy Sultans were "...a living headache to everyone. They could swing and make most bands happy to play 'Home Sweet Home.' When a band like that's on your tail, the night seems to never end. They didn't seem to know the meaning of letting up." As the house band at Harlem's Savoy Ballroom, this group undoubtedly knew how to keep a large crowd entertained with music for dancing purposes. In person they must have been tight and right in order to warrant such praise from other musicians and to hold down their gig at the Savoy for nine years. On record the excitement only comes through on about half of their recordings. This is by no means unusual -- Coleman Hawkins always insisted that Fletcher Henderson's orchestra sounded terrible in the studio compared to what they could do in person. The Savoy Sultans, according to Dicky Wells, succeeded with their live audiences because they kept their arrangements relatively simple. This is evident on those tracks that cook in a solid groove but also seems to be the root of the problem with certain stodgy performances. A brief discussion of the band's better moments seems in order. "The Thing" is most memorable for an extended bowed bass solo by Grachan Moncur, father of modern jazz trombonist Grachan Moncur III. At the beginning of his solo the bassist even hums a little in the style of Slam Stewart. This is by far Moncur's longest solo on record. "Looney" has a clarinet solo by Cooper, who also played alto and baritone saxophones. "Gettin' in the Groove" is a solid strut and the Sultans were wise to present "Rhythm Doctor Man" as an instrumental. "Jeep's Blues" is a plausible emulation of the Duke Ellington sound even though Rudy Rutherford was no Johnny Hodges. "Stitches" and the rock-solid "Jumpin' the Blues" (no relation to the Jay McShann/Charlie Parker tune) are good examples of why Wells considered this band to be such formidable competition. "Jumpin' at the Savoy," however, doesn't jump and is not exciting. "Frenzy" and "Norfolk Ferry" are solid swing numbers that really cook. Al Cooper's wonderfully titled "Second Balcony Jump" is completely different from the famous Gerald Valentine/Earl Hines tune and predates it by a little more than a year. arwulf arwulf   
Tracklist
1 Jump Steady 2:56
 Jack Chapman
2 The Thing 3:13
 Al Cooper
3 Looney 3:08
 Al Cooper
4 Rhythm Doctor Man 2:46
 Al Cooper
5 Gettin' In The Groove 2:54
 Al Cooper
6 Someone Outside Is Taking Your Mind Off Me 3:16
Unknown
Vocals – Helen Proctor
7 Jeep's Blues 3:10
 Duke Ellington / Johnny Hodges
8 You Never Miss The Water 'Til The Well Runs Dry 2:42
Hunt
Vocals – Helen Proctor
9 Stitches 2:52
 Al Cooper
10 Jumpin' At The Savoy 2:46
 Jack Chapman
11 We'd Rather Jump Than Swing 2:47
Jenkins
Vocals – Pat Jenkins
12 Draggin' My Heart Around 2:39
 Alex Hill
Vocals – Evelyn White
13 Little Sally Water 2:28
 Al Cooper
14 Jumpin' The Blues 2:38
 Jack Chapman
15 Love Gave Me You 2:42
 Jack Chapman
Vocals – Paul Chapman
16 When I Grow Too Old To Dream 2:28
 Oscar Hammerstein II / Sigmund Romberg
Vocals – Evelyn White
17 Frenzy 2:58
 Al Cooper
18 (If You Don't Know What You're Doing) Stop! And Ask Somebody 2:53
 Jack Chapman
Vocals – Paul Chapman
19 Wishing And Crying For You 2:57
 Al Cooper / Diggs
Vocals – Evelyn White
20 Sophisticated Jump 3:08
Haynes
21 Norfolk Ferry 2:55
 Erskine Hawkins
22 Second Balcony Jump 2:47
 Al Cooper
23 See What I Mean! 3:01
 Jack Chapman
24 Jackie Boy 3:07
 Jack Chapman
Credits :   
Acoustic Guitar – Paul Chapman (faixas: 9 to 16, 21 to 24)
Alto Saxophone – Rudy Williams
Bass – Grachan Moncur
Drums – Alex "Razz" Mitchell
Leader – Al Cooper
Piano – Cyril Haynes (faixas: 9 to 16, 21 to 24), Oliver Richardson (faixas: 1 to 8)
Tenor Saxophone – Ed McNeil (faixas: 1 to 8), George Kelley (faixas: 21 to 24), Irving "Skinny" Brown (faixas: 17 to 20), Sam Simmons (faixas: 9 to 16, 21 to 24)
Trumpet – Pat Jenkins, Sam Massenberg

ARCHIE SHEPP - The Impulse Story (2007) FLAC (image+.cue), lossless

Archie Shepp's volume in The Impulse Story series, with liner notes by Ashley Kahn, author of The House That Trane Built: The Impulse Story, is arguably the best and most representative of any of the editions in it. These ten cuts capture Shepp's many faces. There's his wonderful look inside the music of his mentor John Coltrane ("Naima" from Four for Trane), through to his gaze at the jazz tradition (Duke Ellington's "Sophisticated Lady"), to bossa nova (a very unique read of "Girl from Ipanema") to the weighty concerns of his own compositions that engaged everything from the avant-garde "Les Matin des Noires" to politics ("Malcolm Malcolm -- Semper Malcolm"), to R&B and soul ("Damn If I Know" "Mama Too Tight," and "Attica Blues"). While certain albums are not represented here -- the magnificent Magic of Ju-Ju being one -- the breadth and depth of Shepp's true genius is all here. That said, it is a shame that many of his albums recorded for Impulse (the classic Fire Music and Magic of Ju-Ju just to name two) are currently out of print. Of all the volumes in this fine collection, Shepp's stands, with Alice Coltrane's as the very best in that it gives a true introduction to an artist often misunderstood, but during his tenure for this label, he was creatively unstoppable.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Naima 7'10
(John Coltrane)
Bass – Reggie Workman
Drums – Charles Moffett
Flugelhorn – Alan Shorter
Producer – John Coltrane
Trombone – Roswell Rudd
2     Los Olvidados 8'56
(Archie Shepp)
Alto Saxophone – Marion Brown
Bass – Reggie Johnson
Drums – Joe Chambers
Trumpet – Ted Curson
3     The Girl from Ipanema 8'35
(Norman Gimbel / Antônio Carlos Jobim / Vinícius de Moraes)
Alto Saxophone – Marion Brown
Bass – Reggie Johnson
Drums – Joe Chambers
Trumpet – Ted Curson
4     Malcolm, Malcolm - Semper Malcolm 4'51
(Archie Shepp)
Bass – David Izenzon
Drums – J.C. Moses
Vocals [Recitation] – Archie Shepp
5     Le Matin des Noires 8'00
(Archie Shepp)
Bass – Barre Phillips
Drums – Joe Chambers
Vibraphone – Bobby Hutcherson     
6     Scag 3'23
(Archie Shepp)
Bass – Barre Phillips
Drums – Joe Chambers
Vibraphone – Bobby Hutcherson
Vocals [Recitation] – Archie Shepp
7     Mama Too Tight 5'25
(Archie Shepp)
Bass – Charlie Haden
Clarinet – Perry Robinson
Drums – Beaver Harris
Trombone – Grachan Moncur III, Roswell Rudd
Trumpet – Tommy Turrentine
Tuba – Howard Johnson
8     Damn If I Know (The Stroller) 6'19
(Walter Davis, Jr.)
Bass – Ron Carter
Drums – Beaver Harris
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens
9     Sophisticated Lady 7'10
(Duke Ellington / Irving Mills / Mitchell Parish)
Bass – Ron Carter
Drums – Roy Haynes
Trombone – Grachan Moncur III
Trumpet – Jimmy Owen
10     Attica Blues 4'47
(Beaver Harris / Archie Shepp)
Alto Saxophone – Clarence White, Marion Brown
Backing Vocals – Albertine Robinson, Joshie Armstead
Baritone Saxophone – James Ware
Bass [Fender] – Jerry Jemmott, Roland Wilson
Cello – Calo Scott, Ronald Lipscomb
Cornet – Clifford Thornton
Drums – Beaver Harris
Guitar – Cornell Dupree
Lead Vocals – Henry Hull
Percussion – Juma Sutan*, Nene DeFense, Ollie Anderson
Producer – Ed Michel
Tenor Saxophone – Roland Alexander
Trombone – Charles Greenlee, Charles Stephens, Kiane Zawadi
Trumpet – Charles McGhee, Michael Ridley
Tuba – Hakim Jami
Violin – John Blake, Leroy Jenkins, Shankar

ARCHIE SHEPP - Mama Too Tight (1967-1998) RM | FLAC (image+.cue), lossless

The octet Archie Shepp surrounded himself with in 1966 was filled with new and old faces. The twin trombones of Roswell Rudd and Grachan Moncur III embodied this, but so did bassist Charlie Haden and trumpeter Tommy Turrentine, while familiar figures like drummer Beaver Harris and tubaist Howard Johnson had been part of Shepp's regular band. There are four tracks on Mama Too Tight, all of them in some way acting as extensions of the opening three-part suite "A Portrait of Robert Thomson (As a Young Man)." Shepp had hit his stride here compositionally. The track is, at first, a seeming free jazz blowout, but then traces the history of jazz, gospel, and blues breeze through its three sections. Certainly there is plenty of atonality, but there is plenty of harmonic and rhythmic invention, too. The piece, almost 19 minutes in length, has an intricate architecture that uses foreshadowing techniques and complex resolution methods. The title track is a post-bop blues swinger with a killer frontline riff turning in and out as the trombones go head to head. And finally, "Basheer," with an Eastern modality that transposes itself toward blues and folk music, becomes a statement on the transitional ties the '60s were ushering in musically. Here again, lots of free blowing, angry bursts of energy, and shouts of pure revelry are balanced with Ellingtonian elegance and restraint that was considerable enough to let the lyric line float through and encourage more improvisation. This is Shepp at his level best.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
Portrait Of Robert Thompson (As A Young Man)    18:58
1a    Prelude To A Kiss
Written-By – Ellington, Gordon, Mills
1b    The Break Strain-King Cotton
Written-By – Public Domain
1c    Dem Basses
Written-By – Public Domain
2    Mama Too Tight 5:26
Written-By – Archie Shepp
3    Theme For Ernie 3:22
Written-By – Fred Lacey
4    Basheer 10:39
Written-By – Archie Shepp
Credits
Bass – Charlie Haden
Clarinet – Perry Robinson
Drums – Beaver Harris
Engineer – Rudy Van Gelder
Tenor Saxophone, Liner Notes [Original] – Archie Shepp
Trombone – Grachan Moncur III, Roswell Rudd
Trumpet – Tommy Turrentine
Tuba – Howard Johnson

ARCHIE SHEPP - Live At The Donaueschingen Music Festival (1967-2000) RM | Most Perfect Sound Edition – 28 | FLAC (tracks), lossless

This is an exciting album. The important tenor Archie Shepp and his 1967 group -- with both Roswell Rudd and Grachan Moncur on trombones, bassist Jimmy Garrison, and drummer Beaver Harris -- romp through the continuous 43-and-a-half-minute "One for the Trane" before an enthusiastic audience at a German music festival. Although he improvises very freely and with great intensity, Shepp surprised the crowd by suddenly bursting into a spaced-out version of "The Shadow of Your Smile" near the end of this memorable performance. On the whole, this very spirited set represents avant-garde jazz at its peak and Archie Shepp at his finest. Scott Yanow
Tracklist :
1     One for the Trane, Pt. 1 22:09
Archie Shepp    
2     One for the Trane, Pt. 2 21:54
Archie Shepp
Credits
Bass – Jimmy Garrison
Drums – Beaver Harris
Tenor Saxophone – Archie Shepp
Trombone – Grachan Moncur III, Roswell Rudd

ARCHIE SHEPP - Poem for Malcolm (1969-2004) RM | FLAC (tracks+.cue), lossless

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
Tracklist :
1     Mama Rose/Poem for Malcolm 13'13
(Archie Shepp)
Bass – Malachi Favors
Drums – Philly Joe Jones
Piano [Oleo] – Vince Benedetti
Tenor Saxophone [Oleo] – Hank Mobley
Tenor Saxophone, Piano, Written-By [Rain Forest] – Archie Shepp
Trombone [Oleo] – Grachan Moncur III
2     Rain Forrest/Oleo 19'21
(Miles Davis / Archie Shepp)
Bass – Alan Silva
Drums – Philly Joe Jones, Claude Delcloo
Piano – Burton Greene
Soprano Saxophone, Voice [Recitation] – Archie Shepp

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 - The Way Ahead (1968-1998) RM | Impulse! Master Sessions | FLAC (image+.cue), lossless

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 could 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.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Damn If I Know (The Stroller) 6:16
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
Baritone Saxophone – Charles Davis (pistas: 5, 6)
Bass – Ron Carter (pistas: 1 to 4), Walter Booker (pistas: 5, 6)
Drums – Beaver Harris (pistas: 1, 2, 5, 6), Roy Haynes (pistas: 3, 4)
Piano – Dave Burrell (pistas: 5, 6), Walter Davis Jr. (pistas: 1 to 4)
Tenor Saxophone – Archie Shepp
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens

ARCHIE SHEPP - Things Have Got to Change (1971-1992) RM | FLAC (tracks), lossless

1    Money Blues    18:25
1.1    a) Part 1    5:54
1.2    b) Part 2    5:47
1.3    c) Part 3    6:41
2    Dr. King, The Peaceful Warrior    2:30
3    Things Have Got To Change    16:59
3.1    a) Part 1    9:07
3.2    b) Part 2    7:51
Credits
Alto Saxophone, Piccolo Flute – James Spaulding (pistas: 1,3)
Backing Vocals – Anita Branham (pistas: 1,3), Anita Shepp (pistas: 1,3), Barbara Parsons (pistas: 1,3), Claudette Brown (pistas: 1,3), Ernestina Parsons (pistas: 1,3), Jody Shayne (pistas: 1,3), Joe Lee Wilson (pistas: 3), Johnny Shepp (pistas: 1,3), Sharon Shepp (pistas: 1,3)
Baritone Saxophone – Howard Johnson (pistas: 1,3)
Bass – Roland Wilson (pistas: 1,3)
Cello – Calo Scott (pistas: 3)
Drums – Beaver Harris (pistas: 1,3)
Electric Piano – Cal Massey (pistas: 2), Dave Burrell (pistas: 1,3)
Engineer – Rudy Van Gelder
Guitar – Billy Butler (pistas: 1), David Spinozza (pistas: 1)
Percussion – Calo Scott (pistas: 1), Hetty 'Bunchy' Fox (pistas: 1,3), Juma Sutan (pistas: 1,3), Ollie Anderson (pistas: 1,3)
Tenor Saxophone, Soprano Saxophone – Archie Shepp
Trombone – Charles Greenlee (pistas: 1,3), Grechan Moncur III (pistas: 1,3)
Trumpet – Roy Burrowes (pistas: 1,3), Ted Daniel (pistas: 1,3)
Violin – Leroy Jenkins (pistas: 3)
Vocals – Joe Lee Wilson (pistas: 1)

ARCHIE SHEPP - For Losers + Kwanza (2011) RM | Impulse! 2-On-1 | FLAC (tracks+.cue), lossless

Though the two titles featured on this Impulse two-fer were originally issued four years apart, they were recorded pretty much at the same time. For Losers, released in 1970, reflects Archie Shepp's deep fascination with rhythm & blues and soul, as well as showing how vanguard jazz drew directly from the tradition. Produced by Ed Michel, this album (and Kwanza) features Shepp in the company of Grachan Moncur III, Jimmy Owens, Woody Shaw, Charles Davis, Dave Burrell, Cedar Walton, Andy Bey, Robin Kenyatta, Cecil Payne, James Spaulding, Wilbur Ware, Beaver Harris, Bernard Purdie, Joe Chambers, Leon Thomas, and Doris Troy, to name a few. It ranges from the funky stomp of "Stick 'Em Up" with Thomas up front and which draws equally on James Brown and Rufus Thomas, through to an avant version of Duke Ellington's "I Got It Bad (And That Ain't Good)," with Troy's vocal atop a warm but angular and elastic harmonic arrangement, to a nearly straight version of Cal Massey's classic ballad "What Would It Be Without You," with beautiful interplay between Shepp's tenor and Payne's flute. The entire second side is taken up by "Un Croque Monsieur (Poem: For Losers)," an outside jazz jam of epic proportions. Kwanza, though it was recorded at nearly the same time, was not released until 1974. Its cuts display the same lineups as those on For Losers. While on the surface it would seem to be a collection of outtakes and leftovers from the earlier album, it doesn't doesn't play like one. With Michel producing only one track, and the balance by Bob Thiele, it sounds more like a direct follow-up. Shepp composed three tunes here; two of which ("Back Back" and "Slow Drag," with killer trumpet work by Shaw) reflect the tough, nasty soul and rhythm & blues foundations of the earlier album, while the other, "Spoo Pee Doo," while brief, is a curiously strange midtempo jazz ballad sung by Thomas. Moncur's modally based free workout "New Africa" appears as the set's longest and most satisfying number, with another Massey number, "Makai," which has its repetitive, labyrinthine counterpoint played to the hilt by Shepp and bassist Walter Booker. Together, For Losers and Kwanza are hotly debated but essential parts of the Shepp Impulse discography; they embody not merely the paradoxes of his vision, but the enormity of it.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
For Losers    
1    Stick 'Em Up 2:05
Alto Saxophone – Robin Kenyatta
Bass [Fender] – Albert Winston, Wilton Felder
Drums – Beaver Harris
Guitar – Bert Payne
Organ, Guitar – Mel Brown
Piano – Andrew Bey
Trombone – Grachan Moncur III
Trumpet, Flugelhorn – Martin Banks
Vocals – Doris Troy, Leon Thomas, Tasha Thomas
2    Abstract 4:20
Alto Saxophone – James Spaulding
Baritone Saxophone – Charles Davis
Bass [Fender] – Bob Bushnell
Drums – Bernard Purdie
Guitar – Wally Richardson
Organ – Dave Burrell
Trombone – Grachan Moncur III
Trumpet, Flugelhorn – Jimmy Owens
3    I Got It Bad (And That Ain't Good) 5:16
Alto Saxophone – Clarence Sharpe
Bass – Wilbur Ware
Drums – Joe Chambers
Piano – Cedar Walton
Soprano Saxophone – Archie Shepp
Vocals – Chinalin Sharpe
4    What Would It Be Without You 4:05
Baritone Saxophone, Flute – Cecil Payne
Bass – Wilbur Ware
Drums – Joe Chambers
Piano – Cedar Walton
Soprano Saxophone – Archie Shepp
5    Un Croque Monsieur (Poem: For Losers) 21:49
Alto Saxophone – Clarence Sharpe
Baritone Saxophone – Cecil Payne
Bass – Wilbur Ware
Drums – Joe Chambers
Piano – Cedar Walton
Soprano Saxophone – Archie Shepp
Trombone – Matthew Gee
Trumpet – Woody Shaw
Vocals – Chinalin Sharpe
Kwanza    
6    Back Back 5:45
Alto Saxophone – James Spaulding
Baritone Saxophone – Charles Davis
Bass [Fender] – Bob Bushnell
Drums – Bernard 'Pretty' Purdie
Guitar – Wally Richardson
Organ – Dave Burrell
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens
7    Spoo Pee Doo 2:37
Bass – Albert Winston
Drums – Beaver Harris
Guitar – Bert Payne
Piano – Andrew Bey
Trumpet – Martin Banks
Vocals – Doris Troy, Leon Thomas, Tasha Thomas
8    New Africa 12:47
Baritone Saxophone – Charles Davis
Bass – Walter Booker
Drums – Beaver Harris
Piano – Dave Burrell
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens
Vocals – Archie Shepp
9    Slow Drag 10:08
Bass – Wilbur Ware
Drums – Joe Chambers
Piano – Cedar Walton
Soprano Saxophone – Archie Shepp
Trumpet – Woody Shaw
10    Bakai 9:57
Baritone Saxophone – Charles Davis
Bass – Walter Booker
Drums – Beaver Harris
Piano – Dave Burrell
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens

ARCHIE SHEPP - Kwanza (1974-2006) RM | Serie : Impulse! Originals | FLAC (tracks+.cue), lossless

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.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Back Back 5'45
Alto Saxophone – James Spaulding
Baritone Saxophone – Charles Davis
Bass – Bob Bushnell
Composed By – Archie Shepp
Drums – Bernard Purdie
Guitar – Wally Richardson
Organ – Dave Burrell
Tenor Saxophone – Archie Shepp
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens    
2     Spoo Dee Doo 2'38
Bass – Albert Winston
Composed By – Archie Shepp
Drums – Beaver Harris
Flute – Robin Kenyatta
Guitar – Bert Payne
Piano – Andrew Bey
Tenor Saxophone – Archie Shepp
Trumpet – Martin Banks
Vocals – Doris Troy, Leon Thomas, Tasha Thomas
3     New Africa 12'50
Baritone Saxophone – Charles Davis
Bass – Walter Booker
Composed By – Grachan Moncur III
Drums – Beaver Harris
Piano – Dave Burrell
Tenor Saxophone, Vocals – Archie Shepp
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens
4     Slow Drag 10'09
Alto Saxophone – Clarence Sharpe
Baritone Saxophone – Cecil Payne
Bass – Wilbur Ware
Composed By – Archie Shepp
Drums – Joe Chambers
Piano – Cedar Walton
Tenor Saxophone – Archie Shepp
Trombone – Matthew Gee
Trumpet – Woody Shaw
5     Bakai 9'59
Baritone Saxophone – Charles Davis
Bass – Walter Booker
Composed By – Cal Massey
Drums – Beaver Harris
Piano – Dave Burrell
Tenor Saxophone, Vocals – Archie Shepp
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens

ROSWELL RUDD | ARCHIE SHEPP - Live in New York (2001) FLAC (tracks+.cue), lossless

Recorded live at New York's Jazz Standard in 2000, this generally excellent CD marks the reunion of two avant-garde improvisers who were separated for way too long: tenor man Archie Shepp and trombonist Roswell Rudd. The jazzmen played together a lot during the turbulent 1960s but, regrettably, they didn't record together at all in the 1970s, 1980s, or 1990s. After more than 30 years apart, was that old chemistry still there? Absolutely. A 63-year-old Shepp (who doubles on piano) and a 65-year-old Rudd have no problem bringing out the best in one another whether they are embracing pieces from the 1960s (including Shepp's remorseful "Steam") or turning their attention to songs they wrote in the 1980s or 1990s such as Rudd's "Bamako" and Shepp's "Hope No. 2." Some people might wish that the veteran jazzmen paid more attention to their 1960s work, but Live in New York isn't meant to be an exercise in nostalgia. Shepp and Rudd (who are joined by trombonist Grachan Moncur III, bassist Reggie Workman, and drummer Andrew Cyrille) aren't trying to recreate the past -- nor should they. But that doesn't mean that they aren't excited about being reunited; they bring a wealth of enthusiasm to their post-bop and avant-garde performances -- none of which are as extreme as some of the blistering free jazz that Shepp provided in the 1960s. Shepp's "Déjà-Vu," in fact, is a hauntingly pretty torch ballad that finds the saxman singing. Although Shepp's singing isn't in a class with his tenor playing, he still manages to get his points across on "Déjà-Vu" -- which is an ironic song title for an album that avoids being nostalgic. Shepp and Rudd keep things unpredictable on this inspired reunion. Alex Henderson
Tracklist :
1    Keep Your Heart Right    2:13
 Roswell Rudd
2    Acute Motelitis    8:23
 Roswell Rudd
3    Steam    7:33
 Archie Shepp
4    Pazuzu    8:27
 Roswell Rudd
5    We Are The Blues    5:46
 Amiri Baraka
6    Ujamma    9:16
 Archie Shepp
7    Bamako    5:46
 Roswell Rudd
8    Slide By Slide    11:57
 Roswell Rudd
9    Deja Vu    3:59
 Archie Shepp
10        Hope No 2    10:38
 Archie Shepp
Credits :
Bass – Reggie Workman
Drums – Andrew Cyrille
Piano, Saxophone, Vocals – Archie Shepp
Trombone – Grachan Moncur III, Roswell Rudd

ART FARMER | BENNY GOLSON JAZZTET - Here and Now (1962-2002) RM | FLAC (tracks+.cue), lossless

The Jazztet had been in existence for two years when they recorded what would be their final LPs, Here and Now and Another Git Together. The personnel, other than the two co-leaders, flugelhornist Art Farmer and tenor-saxophonist Benny Golson, had completely changed since 1960 but the group sound was the same. The 1962 version of the Jazztet included trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis, and drummer Roy McCurdy. It is remarkable to think that this talent-filled group wasn't, for some reason, snapped up to record even more albums together. Highlights of their excellent out-of-print LP include Ray Bryant's "Tonk," "Whisper Not," "Just in Time," and Thelonious Monk's "Ruby My Dear." A classic if short-lived hard bop group. [This is the original issue and does not include bonus tracks.] Scott Yanow
Tracklist :
1     Tonk 6'52
Ray Bryant
2     Rue Prevail 4'27
Art Farmer
3     Richie's Dilemma 5'14
Harold Mabern
4     Whisper Not 5'23
Benny Golson
5     Just in Time 5'27
Betty Comden / Adolph Green / Jule Styne
6     Ruby, My Dear 5'14
Thelonious Monk
7     In Love in Vain 7'17
Jerome Kern / Leo Robin
8     Sonny's Back 4'04
Grachan Moncur III
Credits :
Bass – Herbie Lewis
Drums – Roy McCurdy
Flugelhorn – Art Farmer (pistas: 1, 2, 4 to 7)
Piano – Harold Mabern
Tenor Saxophone – Benny Golson
Trombone – Grachan Moncur III
Trumpet – Art Farmer (pistas: 3, 8)

BENNY GOLSON - Stockholm Sojourn (1964-1997) RM | Original Jazz Classics Limited Edition Series | APE (image+.cue), lossless

Although the International Jazz Orchestra (which was arranged and conducted by Benny Golson) recorded their parts for this album on July 14, 1964, some of the soloists were dubbed in later that year. Golson, who does not play at all on this set, seemed inspired by the large instrumentation – a full orchestra with trumpets, trombones, French horns, several English horns doubling on oboes, five reeds, up to six additional flutes and a pianoless rhythm section – and his charts (six of his originals and three standards) are both inventive and full of subtle surprises. Among the many highlights are Golson's reworkings of "Are You Real," "Waltz for Debby" and "I Remember Clifford." This underrated set is recommended. Scott Yanow

Tracklist:

1 Stockholm Sojourn 4:35

Benny Golson

2 Tryst 3:25

Benny Golson

3 Are You Real? 3:20

Benny Golson

4 Goodbye 6:36

Gordon Jenkins

5 Waltz for Debby 4:25

Bill Evans / Gene Lees

6 My Foolish Heart 5:25

Ned Washington / Victor Young

7 A Swedish Villa 3:49

Benny Golson

8 I Remember Clifford 4:46

Benny Golson

- Bonus Track - 

9 The Call 4:30

Benny Golson

THE INTERNATIONAL JAZZ ORCHESTRA:

Benny Bailey, Bengt-Arne Wallin, Bo Broberg, Bertil Lövgren-trumpets

Georg Vernon, Jörgen Johansson, Ake Persson, Eje Thelin, Grachan Moncur III-trombones

Bengt Olsson, Karl Nyström, Elis Karvall, Willem Fock-French horns

Runo Eriksson-euphonium

Alf Nilsson, Ingvar Holst, Lars Skoglund, Eric Björkhagen-English horns, oboes

Bengt Christiansson, Niels Wharby, Börje Morelius, Yngve Sandstöm, Gösta Ströberg, Ulf Bergström-flutes

Rune Falk-clarinet, baritone saxophone

Torsten Wennberg, Claes Rosendahl, Arne Domnerus-clarinets, saxophones

Bjarne Nerem-tenor saxophone

Roman Dylag-bass

Eril Johansen-drums

Cecil Payne-baritone saxophone

Arranged and conducted by Benny Golson

JACKIE McLEAN - Destination Out! (1963-2003) APE (image+.cue), lossless

Like Eric Dolphy before him, Jackie McLean sought to create a kind of vanguard "chamber jazz" that still had the blues feel and -- occasionally -- the groove of hard bop, though with rounded, moodier edges. Destination Out! was the album on which he found it. Still working with Grachan Moncur III and Bobby Hutcherson -- his direct spiritual connection to Dolphy -- McLean changed his rhythm section by employing drummer Roy Haynes and bassist Larry Ridley. This combination proved a perfect balance of the four elements. The program is four tunes, three of which were written by Moncur. If there was a perfect Blue Note session after John Coltrane's Blue Train, this was it. Opening with a ballad was a novel idea in 1966, but McLean uses Moncur's love and hate to reveal all the tonal possibilities within this group of musicians, and the textural interplay that exists in the heightened sense of form, time breaks, and rhythm changes. As begun on One Step Beyond, the notion of interval is key in this band, and an elemental part of Moncur's composition. The horn lines are spare, haunting, warm, and treated as textural elements by Hutcherson's vibes. On the tune "Esoteric," Hutcherson and Haynes throw complex rhythmic figures into the mix. Moncur's writing is angular, resembling Ornette's early-'60s melodic notions more than Coltrane's modal considerations. Hutcherson's solo amid the complex, knotty melodic frame is just sublime. "Khalil the Prophet" is McLean's only contribution compositionally to the album, but it's a fine one. Using a hard bop lyric and a shape-shifting sense of harmonic interplay between the three front-line players, McLean moves deeply into a blues groove without giving into mere 4/4 time structures. The architecture of his solo is wonderfully obtuse, playing an alternating series of eighths, 12ths, and even 16ths against Hutcherson's wide-open comping and arpeggio runs. The set ends with Moncur's "Riff Raff," a strolling blues that makes full use of counterpoint on the vibes. Moncur sets his solo against McLean's melodic engagement of Hutcherson, forcing both men into opposition positions that get resolved in a sultry, funky, shimmering blues groove. Of all of McLean's Blue Note dates, so many of which are classic jazz recordings, Destination Out! stands as the one that reveals the true soulfulness and complexity of his writing, arranging, and "singing" voice. by Thom Jurek