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| Left Alone Revisited... - ...a Tribute to Billie Holiday [ ÉLŐ ] |
| Archie Shepp & Mal Waldron |
| első megjelenés éve: 2005 |
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| (2009)
[ DIGIPACK ]
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CD |
| 6.177 Ft
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| 1. | Easy Living
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| 2. | Nice Work If You Can Get It
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| 3. | Everything Happens To Me
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| 4. | Left Alone
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| 5. | When Your Lover Has Gone
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| 6. | I Only Have Eyes For You
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| 7. | Blues For 52nd Street
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| 8. | Porgy
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| 9. | Lady Sings The Blues
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| 10. | Left Alone
Spoken Lyrics
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Jazz
Recorded February 7 & 8, 2002 at La Muse en Circuit , Paris
Archie Shepp - vocals, soprano saxophone, tenor saxophone
Mal Waldron - spoken vocals, piano
Direct digital two tracks recording and mastering by Philippe Teissier du Cros
Two "legends" of modern jazz meet for the first time in duo to pay homage to Billie Holiday !
"When Billie Died I found it very painful to play any tune assosiated with her. Always they would invoke unhappy and sad moments from our musical collaboration.
But now, for the first time with Archie, or maybe because of Archie, selecting the material and performing the songs became for me a joyous time in which I recalled many happy and positive moments togther with Billie.
Also re-establishing contact with Archie Shepp, who is one of the truly great saxophonists of our time, made the creation of this album a fantastically uplifting experience for me"
* Michael Fitts - Executive Producer
* Mitchell Feldman - Photography, Project Manager
* Philippe Teissier Du Cros - Engineer, Mastering
* Werner Aldinger - Producer
Mal Waldron's first tribute to Billie Holiday, titled Left Alone, was recorded in 1959, mere months before the singer's death. He returned to salute the legendary vocalist on several occasions since then, with this CD likely being his final tribute, recorded less than a year before his own death. Waldron, who worked with Holiday during her last years, is intimately familiar with her takes of the six standards heard on this disc, along with her own "Lady Sings the Blues." Archie Shepp's often gritty tenor sax is reminiscent of the texture of Holiday's voice, yet he perfectly complements Waldron's lush piano. They also pack a punch with their stark performance of "Left Alone" (Shepp's occasional reed squeaks seem deliberate, as if to imitate breaks in her voice). Waldron also recites Holiday's lyrics set to his composition at the conclusion of the CD. Shepp switches to soprano sax for an emotional take of "Everything Happens to Me" and "I Only Have Eyes for You," with the latter song sounding as if the unheard singer is being ignored by her love interest. Shepp's "Blues for 52nd Street" is both sassy and swinging. This instrumental salute to Billie Holiday is one of the best albums ever to honor her memory.
---Ken Dryden, All Music Guide
Archie Shepp
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: May 24, 1937 in Fort Lauderdale, FL
Genre: Jazz
Styles: Poetry, Progressive Big Band, Ballads, Hard Bop, Early Creative, Free Jazz, Mainstream Jazz, Progressive Jazz, Standards, Avant-Garde Jazz
Archie Shepp has been at various times a feared firebrand and radical, soulful throwback and contemplative veteran. He was viewed in the '60s as perhaps the most articulate and disturbing member of the free generation, a published playwright willing to speak on the record in unsparing, explicit fashion about social injustice and the anger and rage he felt. His tenor sax solos were searing, harsh, and unrelenting, played with a vivid intensity. But in the '70s, Shepp employed a fatback/swing-based R&B approach, and in the '80s he mixed straight bebop, ballads, and blues pieces displaying little of the fury and fire from his earlier days. Shepp studied dramatic literature at Goddard College, earning his degree in 1959. He played alto sax in dance bands and sought theatrical work in New York. But Shepp switched to tenor, playing in several free jazz bands. He worked with Cecil Taylor, co-led groups with Bill Dixon and played in the New York Contemporary Five with Don Cherry and John Tchicai. He led his own bands in the mid-'60s with Roswell Rudd, Bobby Hutcherson, Beaver Harris, and Grachan Moncur III. His Impulse albums included poetry readings and quotes from James Baldwin and Malcolm X. Shepp's releases sought to paint an aural picture of African-American life, and included compositions based on incidents like Attica or folk sayings. He also produced plays in New York, among them The Communist in 1965 and Lady Day: A Musical Tragedy in 1972 with trumpeter/composer Cal Massey. But starting in the late '60s, the rhetoric was toned down and the anger began to disappear from Shepp's albums. He substituted a more celebratory, and at times reflective attitude. Shepp turned to academia in the late '60s, teaching at SUNY in Buffalo, then the University of Massachusetts. He was named an associate professor there in 1978. Shepp toured and recorded extensively in Europe during the '80s, cutting some fine albums with Horace Parlan, Niels-Henning Ørsted Pedersen, and Jasper van't Hof. He has recorded extensively for Impulse, Byg, AristaFreedom, Phonogram, Steeplechase, Denon, Enja, EPM, and Soul Note among others over the years. Unfortunately his tone declined from the mid-'80s on (his highly original sound was his most important contribution to jazz), and Shepp became a less significant figure in the 1990s than one might have hoped.
---Ron Wynn & Scott Yanow, All Music Guide
Mal Waldron
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Aug 16, 1926 in New York, NY
Died: Dec 02, 2002 in Brussels, Belgium
Genre: Jazz
Styles: Modern Creative, Post-Bop, Hard Bop, Modal Music, Progressive Jazz
A pianist with a brooding, rhythmic, introverted style, Mal Waldron's playing has long been flexible enough to fit into both hard bop and freer settings. Influenced by Thelonious Monk's use of space, Waldron has had his own distinctive chord voicings nearly from the start. Early on, Waldron played jazz on alto and classical music on piano, but he switched permanently to jazz piano while at Queens College. He freelanced around New York in the early '50s with Ike Quebec (for whom he made his recording debut), Big Nick Nicholas and a variety of R&B-ish groups. Waldron frequently worked with Charles Mingus from 1954-56 and was Billie Holiday's regular accompanist during her last two years (1957-59). Often hired by Prestige to supervise recording sessions, Waldron contributed many originals (including "Soul Eyes," which became a standard) and basic arrangements that prevented spontaneous dates from becoming overly loose jam sessions. He has mostly led his own groups since Holiday's death, although he was part of the Eric Dolphy Booker Little Quintet that was recorded extensively at the Five Spot in 1961, and also worked with Abbey Lincoln for a time during the era. He wrote three film scores (The Cool World, Three Bedrooms In Manhattan and Sweet Love Bitter) before moving permanently to Europe in 1965, settling in Munich in 1967. Waldron, who has occasionally returned to the U.S. for visits, has long been a major force in the European jazz world. His album Free at Last was the first released by ECM, and his Black Glory was the fourth Enja album. Mal Waldron, who frequently teamed up with Steve Lacy (often as a duet), kept quite busy up through the '90's, featuring a style that evolved but was certainly traceable to his earliest record dates. Among the many labels that have documented his music have been Prestige, New Jazz, Bethlehem, Impulse, Musica, Affinity, ECM, Futura, Nippon Phonogram, Enja, Freedom, Black Lion, Horo, Teichiku, Hat Art, Palo Alto, Eastwind, Baybridge, Paddle Wheel, Muse, Free Lance, Soul Note, Plainisphere and Timeless. In September of 2002, Waldron was diagnosed with cancer. Remaining optimistic, he continued to tour until he passed away on December 2nd in Brussels, Belgium at the age of 76.
---Scott Yanow, All Music Guide |
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