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.
Two previously unreleased 1960s performances by Don Cherry in quintet format. The first show was recorded in Denmark in 1963 (but a different date that the release on Storyville) and showcases the New York Contemporary Five, featuring Cherry with Archie Shepp, John Tchicai, Don Moore and J.C. Moses.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A real gem from the great Archie Shepp – an overlooked treasure from his years as a straight jazz musician – a time we come to appreciate more and more as the years go by! The Shepp heard here is one who's still got all the raw tone and bite of the old days, but also finds a way to swing things on a set of familiar standards – so that he's cutting these great raspy lines out of tunes you might already know – but which are taking on a whole new life in the process.
"Serious collectors and devoted Sheppherds only…" By 1985 Archie Shepp's tone on tenor had declined quite a bit from just a few years earlier. This should have been a strong set for the sidemen (trumpeter Enrico Rava, keyboardist Siegfried Kessler, bassist Wilbur Little and drummer Clifford Jarvis) are excellent and the repertoire is both diverse and challenging. However Shepp fouls up "Naima" by playing his out-of-tune soprano, talks and sings on the 18-minute "Little Red Moon" more than he plays tenor and his sax sounds quite sloppy on "Whisper Not" and "Sweet Georgia Brown." Despite some good moments from the supporting cast, this is one to skip.