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Kwanza CD CD, DVD, BLU-RAY lemez, ajándék tárgyak (póló, baseball sapka)

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Archie Shepp
első megjelenés éve: 1969
42 perc

3.324 Ft  
2.590 Ft  


Kosaramba teszem
1.  Back Back
2.  Spoo Pee Doo
3.  New Africa
4.  Slow Drag
5.  Bakai
Jazz / Avant-Garde; Free Jazz; Holiday

Recorded: Sep 9, 1968-Aug 26, 1969, New York City

Archie Shepp - vocals, tenor saxophone
Doris Troy - vocals
Leon Thomas - vocals
Tasha Thomas - vocals
Bert Payne - guitar
Wally Richardson - guitar
Robin Kenyatta - flute
Clarence Sharpe - alto saxophone
James Spaulding - alto saxophone
Cecil Payne - baritone saxophone
Charles Davis - baritone saxophone
Jimmy Owens - trumpet
Woody Shaw - trumpet
Martin Banks - trumpet
Grachan Moncur III - trombone
Matthew Gee - trombone
Dave Burrell - piano, organ
Andrew Bey - piano
Cedar Walton - piano
Albert Winston - double bass
Walter Booker - double bass
Wilbur Ware - double bass
Bob Bushnell - double bass
Joe Chambers - drums
Beaver Harris - drums
Bernard Purdie - drums

Kwanza is a curious Archie Shepp recording. Released in 1969, on Impulse, it features cuts recorded between September '68 and August '69 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 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 JBs with Burrell kicking it on B3. "the all-too-brief" "Spoo Pee Doo," showcases Thomas's 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, its struts 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.
---Thom Jurek, AMG

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