(Free-Jazz) Archie Shepp - Kwanza - 2006, FLAC (tracks+.cue), lossless
Треклист:
Archie Shepp - Kwanza
Жанр: Free-Jazz
Страна-производитель диска: USA
Год издания диска: 2006
Издатель (лейбл): Impulse!
Номер по каталогу: 0602517050396
Страна: USA
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 41:21
Источник (релизер): собственный
Наличие сканов в содержимом раздачи: есть
1 Back Back
2 Spoo Pee Doo
3 New Africa
4 Slow Drag
5 Bakai
Martin Banks Trumpet
Andy Bey Piano
Walter Booker Bass
Dave Burrell Organ, Piano
Beaver Bushnell Bass
Joe Chambers Drums
Charles Davis Sax (Baritone)
Matthew Gee Trombone
Beaver Harris Drums
Robin Kenyatta Flute
Grachan Moncur III Trombone
Jimmy Owens Trumpet
Bert Payne Guitar
Cecil Payne Sax (Baritone)
Bernard "Pretty" Purdie Drums
Wally Richardson Guitar
Clarence Sharpe Sax (Alto)
Woody Shaw Trumpet
Archie Shepp Sax (Soprano), Sax (Tenor), Vocals
James Spaulding Sax (Alto)
Leon Thomas Vocals
Tasha Thomas Vocals
Doris Troy Vocals
Cedar Walton Piano
Wilbur Ware Bass
Albert Winston Bass
Жанр: Free-Jazz
Страна-производитель диска: USA
Год издания диска: 2006
Издатель (лейбл): Impulse!
Номер по каталогу: 0602517050396
Страна: USA
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 41:21
Источник (релизер): собственный
Наличие сканов в содержимом раздачи: есть
1 Back Back
2 Spoo Pee Doo
3 New Africa
4 Slow Drag
5 Bakai
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 26. February 2012, 11:46
Archie Shepp / Kwanza
Used drive : SlimtypeDVD A DS8A5SH Adapter: 0 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 128 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "Genre=%genre%" -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Comment=%comment%" %source%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 5:45.67 | 0 | 25941
2 | 5:45.67 | 2:38.39 | 25942 | 37830
3 | 8:24.31 | 12:50.44 | 37831 | 95624
4 | 21:15.00 | 10:09.44 | 95625 | 141343
5 | 31:24.44 | 9:59.08 | 141344 | 186276
Track 1
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Track quality 99.9 %
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Accurately ripped (confidence 13) [7B637598] (AR v1)
Copy OK
Track 2
Filename D:\Musak 2\Archie Shepp\Kwanza (1974)\02. Spoo Pee Doo.wav
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Track quality 100.0 %
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Track 3
Filename D:\Musak 2\Archie Shepp\Kwanza (1974)\03. New Africa.wav
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Copy OK
Track 4
Filename D:\Musak 2\Archie Shepp\Kwanza (1974)\04. Slow Drag.wav
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Track quality 100.0 %
Test CRC 7A233F74
Copy CRC 7A233F74
Accurately ripped (confidence 13) [53E9F349] (AR v1)
Copy OK
Track 5
Filename D:\Musak 2\Archie Shepp\Kwanza (1974)\05. Bakai.wav
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Copy OK
All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum 92BCDDA7CFBF286865B9ED2B6C504CB54B1DCB8E8D7448A378725FECDD95B54C ====
Содержание индексной карты (.CUE)
REM GENRE Jazz
REM DATE 1974
REM DISCID 4309B305
REM COMMENT "ExactAudioCopy v1.0b3"
CATALOG 0602517050396
PERFORMER "Archie Shepp"
TITLE "Kwanza"
FILE "01. Back Back.wav" WAVE
TRACK 01 AUDIO
TITLE "Back Back"
PERFORMER "Archie Shepp"
ISRC USUM70612809
FLAGS DCP
INDEX 01 00:00:00
FILE "02. Spoo Pee Doo.wav" WAVE
TRACK 02 AUDIO
TITLE "Spoo Pee Doo"
PERFORMER "Archie Shepp"
ISRC USUM70612811
FLAGS DCP
INDEX 01 00:00:00
TRACK 03 AUDIO
TITLE "New Africa"
PERFORMER "Archie Shepp"
ISRC USMC16854255
FLAGS DCP
INDEX 00 02:37:29
FILE "03. New Africa.wav" WAVE
INDEX 01 00:00:00
TRACK 04 AUDIO
TITLE "Slow Drag"
PERFORMER "Archie Shepp"
ISRC USUM70612810
FLAGS DCP
INDEX 00 12:49:58
FILE "04. Slow Drag.wav" WAVE
INDEX 01 00:00:00
TRACK 05 AUDIO
TITLE "Bakai"
PERFORMER "Archie Shepp"
ISRC USMC16854256
FLAGS DCP
INDEX 00 10:08:73
FILE "05. Bakai.wav" WAVE
INDEX 01 00:00:00
Об альбоме (сборнике)
This big band session collects all of Archie Shepp's virtues as a composer, saxophonist and jazz dramaticist and puts them into one glorious package. Like the African-American holiday this album is named after, it's an imposing hybrid form, a sprawling mass of experimental jazz circa 1969 sharply peppered with funk, blues, and myriad musical evocations of an imaginary "Africa."
Not only was Shepp consistently soloing with as much dynamic originality as he would ever do—gruff, hoarse, but consistently and logically lyrical—his assemblage of players was absolutely at their peak. The shamefully under-recognized trombonist Grachan Moncur III plays with furious splendor on his own composition, a moody tone-poem summoning up some utopian African vision, "New Africa." Moncur is equally sensational when teamed with the brassy front line of Shepp, trumpeter Jimmy Owens, and saxophonists James Spaulding and Charles Davis on the "James Brown-Meets-Free Jazz" funk workout "Back Back." Vocalist Leon Thomas controls his zealous yen to yodel, and uses it with great grace and taste on Shepp's brief anthem to Black liberation, "Spoo Pee Do," whose title is a Philly slang term for "everything's fine."
Since it is nearly impossible to listen to '60s Shepp without evoking his mentor, John Coltrane, it is fascinating to hear Shepp's cover of Cal Massey's "Bakai," an ungainly repetitous vamp that even Coltrane couldn't make interesting on an earlier Prestige recording. With the help of trumpeter Woody Shaw, Shepp creates a blisteringly dramatic anthem out of Massey's tedious original that makes Coltrane's version seem pale by comparison.
Shepp always had a melodramatic flair in the '60s. This led to a sometimes contrived and self-consciously "streetwise/New Jazz" approach that flowered on Mama Too Tight (1966) and Attica Blues (1972), both grander in concept than in execution. His melodramatic excesses are in check here, his choice of players impeccable. Kwanza sounds fresher than the last six albums by any Marsalis family member of your choice. And only the liner notes, written in an unconscious parody of Amiri Baraka at his most windy, date the product.
***
Albert Ayler flamed like phosphorous for a few years, spoke like an Old Testament prophet, wore leather trousers and died young in mysterious circumstances. Archie Shepp burned just as bright, but has lived to a ripe age, growing to embrace the mainstream, and has had one foot in academe for much of his career. The two saxophonists, along with John Coltrane, personified the Impulse! label during its giddy zenith, but Ayler's highly marketable legend, now of mythic proportions, has grown to overshadow Shepp's contributions to the label and the “new thing.”
Kwanza catches Shepp at his most funked up and glorious. It was recorded over four sessions, between September 1968 and August 1969, a time when psychedelia and Blackism's twin recalibrations of jazz convention were at their most fervid. Primal R&B values were fascinating the avant garde, along with what would now be called world music and an avowed, Maoist anti-intellectualism (the latter essentially an affectation, and one hilariously observed by Tom Wolfe in Radical Chic And Mau-Mauing The Flak Catchers, Farrar, Straus & Giroux, 1970).
Shepp, though himself an intellectual, was part of this back-to-the-roots-and-outwards movement. Kwanza, and the nearly contemporaneous The Way Ahead (Impulse!, 1968), recorded with the same core musicians, were his mature statements in a trajectory which had hit the backbeat with the New Orleans fonk-informed Mama Too Tight (Impulse!, 1966).
Surrounding himself with the cream of the “new thing” players, Shepp maintained his commitment to free and collective improvisation, but combined it now with structured arrangements rooted in gospel and the blues. Bass ostinatos, keyboard vamps and drum backbeats drive the music, along with raw R&B horn charts and sweating, testifying horn solos.
Ace fellow travellers like organist/pianist Dave Burrell, trombonist Grachan Moncur III and trumpeter Jimmy Owens help Shepp keep the unexpected happening against these repititious, cyclical structures. First-generation bebop baritone saxophonist Cecil Payne, a relative old-timer here, blows his fine wild heart out on Cal Massey's “Bakai.”
Kwanza is roughly contemporaneous with Ayler's most considered R&B statement, New Grass (Impulse!, 1968), whose visceral passion it approaches without wholly abandoning the cerebral in the process. There are close affinities too with the work of some artists on the post-Alfred Lion, late-1960s Blue Note label, recently compiled on the double-disc set Righteousness. A great little chunk of history, and with the power still to move the listener. (Review courtesy of All About Jazz)
***
Archie Shepp started his career as a new thing firebrand, an acolyte of John Coltrane and a fierce advocate for civil rights. By the time these sessions were recorded in the late 60's and early 70's, Shepp had changed—developing a funky style of R&B tinged jazz that wasn't exactly fusion, but definitely showed an awareness of what people like James Brown and Sly Stone were up to. The first album on this 2-fer, is the rare disc For Losers, and it surprises you right from the jump with a straight up R&B tune called “Stick 'em Up," which wouldn't have sounded out of place on the AM radio of the time. Some of the other tracks enter the same territory, with massive horn riffs and drums propelling a killer groove. Shepp was evolving into an excellent ballad player and examples of this are apparent on the vocal enhanced piece of Ellingtonia, “I've Got It Bad," and then instrumental “What Would It Be Without You" enhanced by some gentle flute. His tenor playing, especially on the ballads has taken on a Ben Webster like confidence (something he would pass on to fellow traveler David Murray.) Kwanza is an overlooked gem of a recording. This album has a curious history, being recorded during 1968 and 1969 and then only slipping out during the end of the original Impulse tenure in 1974. These recordings have a fairly large group of performers including among others Grachan Moncur III on trombone, James Spaulding on alto saxophone, Charles Davis on baritone saxophone, and Dave Burrell on organ. The music itself is a very interesting blend of funky R&B and spiritual “cosmic-groove" free-jazz that was Impulse's stock and trade during the late 1960's. The opening track “Back Back" is the best example of this with some righteous honking over a slippery organ groove. Moncour's “New Africa" allows the band the opportunity to stretch out on a freer angle, without ever sinking into just perfunctory blowing. The only mis-step “Spoo Pee Doo" featureing vocals from the distinctive Leon Thomas, background singers as well as flute, for something completely different.which really never takes flight. Apart from that though, this is a fine album of modal to free jazz which should give open eared jazz listeners a lot to enjoy.
Not only was Shepp consistently soloing with as much dynamic originality as he would ever do—gruff, hoarse, but consistently and logically lyrical—his assemblage of players was absolutely at their peak. The shamefully under-recognized trombonist Grachan Moncur III plays with furious splendor on his own composition, a moody tone-poem summoning up some utopian African vision, "New Africa." Moncur is equally sensational when teamed with the brassy front line of Shepp, trumpeter Jimmy Owens, and saxophonists James Spaulding and Charles Davis on the "James Brown-Meets-Free Jazz" funk workout "Back Back." Vocalist Leon Thomas controls his zealous yen to yodel, and uses it with great grace and taste on Shepp's brief anthem to Black liberation, "Spoo Pee Do," whose title is a Philly slang term for "everything's fine."
Since it is nearly impossible to listen to '60s Shepp without evoking his mentor, John Coltrane, it is fascinating to hear Shepp's cover of Cal Massey's "Bakai," an ungainly repetitous vamp that even Coltrane couldn't make interesting on an earlier Prestige recording. With the help of trumpeter Woody Shaw, Shepp creates a blisteringly dramatic anthem out of Massey's tedious original that makes Coltrane's version seem pale by comparison.
Shepp always had a melodramatic flair in the '60s. This led to a sometimes contrived and self-consciously "streetwise/New Jazz" approach that flowered on Mama Too Tight (1966) and Attica Blues (1972), both grander in concept than in execution. His melodramatic excesses are in check here, his choice of players impeccable. Kwanza sounds fresher than the last six albums by any Marsalis family member of your choice. And only the liner notes, written in an unconscious parody of Amiri Baraka at his most windy, date the product.
***
Albert Ayler flamed like phosphorous for a few years, spoke like an Old Testament prophet, wore leather trousers and died young in mysterious circumstances. Archie Shepp burned just as bright, but has lived to a ripe age, growing to embrace the mainstream, and has had one foot in academe for much of his career. The two saxophonists, along with John Coltrane, personified the Impulse! label during its giddy zenith, but Ayler's highly marketable legend, now of mythic proportions, has grown to overshadow Shepp's contributions to the label and the “new thing.”
Kwanza catches Shepp at his most funked up and glorious. It was recorded over four sessions, between September 1968 and August 1969, a time when psychedelia and Blackism's twin recalibrations of jazz convention were at their most fervid. Primal R&B values were fascinating the avant garde, along with what would now be called world music and an avowed, Maoist anti-intellectualism (the latter essentially an affectation, and one hilariously observed by Tom Wolfe in Radical Chic And Mau-Mauing The Flak Catchers, Farrar, Straus & Giroux, 1970).
Shepp, though himself an intellectual, was part of this back-to-the-roots-and-outwards movement. Kwanza, and the nearly contemporaneous The Way Ahead (Impulse!, 1968), recorded with the same core musicians, were his mature statements in a trajectory which had hit the backbeat with the New Orleans fonk-informed Mama Too Tight (Impulse!, 1966).
Surrounding himself with the cream of the “new thing” players, Shepp maintained his commitment to free and collective improvisation, but combined it now with structured arrangements rooted in gospel and the blues. Bass ostinatos, keyboard vamps and drum backbeats drive the music, along with raw R&B horn charts and sweating, testifying horn solos.
Ace fellow travellers like organist/pianist Dave Burrell, trombonist Grachan Moncur III and trumpeter Jimmy Owens help Shepp keep the unexpected happening against these repititious, cyclical structures. First-generation bebop baritone saxophonist Cecil Payne, a relative old-timer here, blows his fine wild heart out on Cal Massey's “Bakai.”
Kwanza is roughly contemporaneous with Ayler's most considered R&B statement, New Grass (Impulse!, 1968), whose visceral passion it approaches without wholly abandoning the cerebral in the process. There are close affinities too with the work of some artists on the post-Alfred Lion, late-1960s Blue Note label, recently compiled on the double-disc set Righteousness. A great little chunk of history, and with the power still to move the listener. (Review courtesy of All About Jazz)
***
Archie Shepp started his career as a new thing firebrand, an acolyte of John Coltrane and a fierce advocate for civil rights. By the time these sessions were recorded in the late 60's and early 70's, Shepp had changed—developing a funky style of R&B tinged jazz that wasn't exactly fusion, but definitely showed an awareness of what people like James Brown and Sly Stone were up to. The first album on this 2-fer, is the rare disc For Losers, and it surprises you right from the jump with a straight up R&B tune called “Stick 'em Up," which wouldn't have sounded out of place on the AM radio of the time. Some of the other tracks enter the same territory, with massive horn riffs and drums propelling a killer groove. Shepp was evolving into an excellent ballad player and examples of this are apparent on the vocal enhanced piece of Ellingtonia, “I've Got It Bad," and then instrumental “What Would It Be Without You" enhanced by some gentle flute. His tenor playing, especially on the ballads has taken on a Ben Webster like confidence (something he would pass on to fellow traveler David Murray.) Kwanza is an overlooked gem of a recording. This album has a curious history, being recorded during 1968 and 1969 and then only slipping out during the end of the original Impulse tenure in 1974. These recordings have a fairly large group of performers including among others Grachan Moncur III on trombone, James Spaulding on alto saxophone, Charles Davis on baritone saxophone, and Dave Burrell on organ. The music itself is a very interesting blend of funky R&B and spiritual “cosmic-groove" free-jazz that was Impulse's stock and trade during the late 1960's. The opening track “Back Back" is the best example of this with some righteous honking over a slippery organ groove. Moncour's “New Africa" allows the band the opportunity to stretch out on a freer angle, without ever sinking into just perfunctory blowing. The only mis-step “Spoo Pee Doo" featureing vocals from the distinctive Leon Thomas, background singers as well as flute, for something completely different.which really never takes flight. Apart from that though, this is a fine album of modal to free jazz which should give open eared jazz listeners a lot to enjoy.
Состав
Martin Banks Trumpet
Andy Bey Piano
Walter Booker Bass
Dave Burrell Organ, Piano
Beaver Bushnell Bass
Joe Chambers Drums
Charles Davis Sax (Baritone)
Matthew Gee Trombone
Beaver Harris Drums
Robin Kenyatta Flute
Grachan Moncur III Trombone
Jimmy Owens Trumpet
Bert Payne Guitar
Cecil Payne Sax (Baritone)
Bernard "Pretty" Purdie Drums
Wally Richardson Guitar
Clarence Sharpe Sax (Alto)
Woody Shaw Trumpet
Archie Shepp Sax (Soprano), Sax (Tenor), Vocals
James Spaulding Sax (Alto)
Leon Thomas Vocals
Tasha Thomas Vocals
Doris Troy Vocals
Cedar Walton Piano
Wilbur Ware Bass
Albert Winston Bass