Archie Shepp - Steam

As one of those dudes who scours around for records anywhere they may be lurking, it is finds like this that keep reminding me of why I do it. the other day I buzzed past a small "antique" shop that I see often but is rarely open. I have sifted through their decent pile of lps a couple of times to no avail and never saw anything that would have indicated any change in inventory, so I am not sure why I bothered to stop again. Just perhaps because it had been so long, or just karma, but stop I did. The owner did not recognize me and explained the records were a dollar apiece. And just like the last time I asked if he had anything that was "collectable". He directed me to a couple of cabinets that I had seen previously but this time he added a third. It was filled with the usual Beatles and crap that people think are worth something but lo and behold I found this lp. Actually I also found the next lp that I am gonna post as well, also on Enja.

This is Shepp at my favorite. Live. Stripped down, raspy and raw. I just love the way these guys tear into one of my favorite Duke pieces. I don't have any idea who these back up guys are but they're alright in my book. The only other two pieces on the lp are a smoking Shepp composition that lives up to it's name, and  piece written in appreciation of John C. Shepp handles it beautifully.

This was recorded at the East-West festival In Nuremberg, May 14th, 1976 ( was a senior in high school, and had just barely discovered Miles and Trane. Man, did I have a long way to go.)

1. Solitude

2. Steam

3. A Message From Trane

Archie Shepp - tenor sax, piano

Cameron Brown - bass

Beaver Harris - drums

enja 2076

Archie Shepp - Attica Blues

This one is a rarity around here because it was taken from a cd. Not sure if it is available easily or not. Just posted it to friend's site to fill in some blanks. Thought I would share it here.

Y'all want my opinion, Shepp handles the large ensemble nicely. In reflection of its namesake, it's gritty and urban. Because it's Shepp, its not always easy to take. One of my favorites.

1. Attica Blues

2. Invocation: Attica Blues
3. Steam, Part 1
4. Invocation to Mr. Parker
5. Steam, Part 2
6. Blues For Brother George Jackson
7. Invocation: Ballad For A Child
8. Ballad For A Child
9. Good Bye Sweet Pops
10. Quiet Dawn

Archie Shepp (ts, ss)
Henry Hull, Joshie Armstead, Albertine Robinson, Joe Lee Wilson, Waheeda Massey (voc)
Roy Burrowes, Michael Ridley, Charles McGhee (tp)
Clifford Thornton (cornett)
Charles Stephens, Kiane Zawadi, Charles Greenlee (tb)
Hakim Jami (euphonium)
Marion Brown (as, fl, perc)
Clarence White (as)
Billy Robinson, Roland Alexander (ts)
James Ware (bariton-sax)
Cal Massey (flugelhorn)
Leroy Jenkins, John Blake, L. Shankar (viol)
Ronald Lipscomb, Calo Scott (cello)
Walter Davis Jr., Dave Burrell (p)
Cornell Dupree (g)
Gerald Jemmott, Roland Wilson, Jimmy Garrison (b)
Beaver Harris (dr)
Ollie Anderson, Jumma Santos, Nene DeFense (perc)
William Kunstler, Bartholomew Gray (speech)
Romulus Franceschini (director)


Prestige AS-9222

The Definitive Jazz Scene Vol. 3 - Impulse Comp.

The last in this series of vinyl treasures. Again these tracks were all unreleased when the lp was issued. This is probably the most forward looking of all three lps.
A few personal observations and notes about this lp. The Coltrane piece features him on a soprano, an instrument that I struggled with liking for many years. then I just outright dismissed it except for the occasional Trane pieces which I mildly suffered through. Now I have come to embrace it again albeit still in smaller doses.
The Archie Shepp blows me away far more than it did 10 years ago when I first landed this lp. as do the Oliver Nelson and Shirley Scott tracks.

The Chico Hamilton track is adapted from an old Bob Crosby Dixieland swinger. The Russians never did make a splash but the tune is fine in it's own right. I love a clarinet. And only two of them are russian.

Sometimes it seems unfortunate that most people quickly relegate McCoy Tyner and Elvin Jones to Trane sideman status as they were both exceptional leaders on their own. These tracks
support that admirably.

The Definitive Jazz Scene
Volume 3

1. Vilia
2. The Chased
3. One For Phil
4. Five Spot After Dark
5. Big Noise from Winnetka
6. March For Igor
7. Time After Time
8. That Five-Four Bag

1. John Coltrane Quartet - JC - soprano sax; McCoy Tyner - piano; Jimmy Garrison - bass; Elvin Jones - drums NYC 3/6/63
2. Archie Shepp Trio - AS - tenor sax; David Izenzon - bass; JC Moses - drums NYC 3/9/65
3. Oliver Nelson's Septet - Thad Jones - trumpet; Phil Woods - alto sax; Phil Boner - tenor sax and English Horn; Pepper Adams - baritone sax; Roger Kelleway - piano; Richard Davis - bass; Grady Tate - drums; Nelson - arr. and conduct NYC 11/10/64
4. McCoy Tyner Trio - Tyner -piano; Jimmy Garrison - bass; Tootie Heath - drums
NYC 6/4/63
5. Chico Hamilton Trio - CH - drums; Willie Bo Bo - drums; Al Stinson - bass NYC 3/15/65
6. Russian Jazz Quartet - Boris Midney - clarinet and alto sax; Roger Kelleway - piano; Igor Berukshtis - bass; Grady Tate - drums NYC 11/13/64
7. Shirley Scott Quartet - SS - organ; Stanley Turrentine - tenor sax; Bob Cranshaw - bass; Otis Finch - drums NYC 9/23/64
8. Elvin Jones Quartet - EJ - drums; Charlie Mariano - alto sax; Roland Hanna - piano;
Richard Davis - bass NYC 2/23/65


A-9101

Bill Dixon / Archie Shepp - Consequences

A record like this is often overlooked by folks who don't like "free" jazz. I used to be in that same category. I kept telling myself I didn't understand it but eventually I realized I don't understand any music, I just need to feel it. That said, there is still some jazz that is too free for my tastes yet, but this is not one.

This record comes from the now legendary pile that I digitized for a friend. Even when recording these records I wasn't sure I liked all of them but over a year later. they have become some of my most treasured recordings.

Here we have two seperate bands, each taking their own side to an lp. And two very different styles within the same genre. I know nothing of Bill Dixon and I know only a smattering of sidemen on both dates. In doing a little research for this post I see that some of the dates, etc., I found do not match up to the info I copied off the back of the lp, either through my own haste or just bad info supplied to the french label or posted online.

On the lp, the sprawling opening track, Winter Song 64 is actually divided into several small movements. I did not do this but kept it as all one consistent track (sorta). Perhaps I would do it differently now but I no longer have the lp to work from. Caveat emptor.

As such, here is Consequences BYG 529 001. from vinyl.
And the facts...
Side A...

1/2. Winter Song 1964

3. The 12th December

Bill Dixon - trumpet Ken McIntyre - alto, flute George Barrow - tenor

Howard Johnson - baritone, tuba David Izenon, Hal Dodson - basses

Howard McRea - percussion

recorded NYC Dec 1963
Side B...

4. Where Poppies Bloom

5. Like A Blessed Baby Lamb

6. Consequences*

Archie Shepp - tenor John Tchicci - alto Ted Cursor - trumpet

Don Cherry - trumpet* Ronnie Boykins - double bass Sunny Murray - percussion

recorded NYC Jan 1964

produced by Dixon/Shepp