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For Losers [Japan version]
Archie Shepp
japán
első megjelenés éve: 1971
(2005)

CD
7.833 Ft 

 

IMPORT!
Kosaramba teszem
1.  Stick 'Em Up
2.  Abstract
3.  I Got It Bad (And That Ain't Good)
4.  What Would It Be Without You
5.  Un Croque Monsieur
Jazz / Avant-Garde, Free Jazz

Archie Shepp - Sax (Soprano), Sax (Tenor)
Wilbur Ware - Bass

At the time this record was recorded, Shepp was bouncing back and forth between Paris and New York. He also bounced between the Impulse! and BYG labels. He also bounced between styles. For BYG, his music reached to grasp the bare beginnings of black music, back to Africa and the blues. His music for Impulse! tried to embrace the contemporary sounds of r&b, with very mixed results that to this day divide his fans. This record is a transitional one. For the traditionalists, there's his shattering and amusing cover of "I've Got It Bad" performed by the usual suspects one would think to find on an Archie Shepp record, including Cecil Payne and Joe Chambers. For those enraptured by albums like Attica Blues, songs like "Stick 'Em Up" will fascinate, as Shepp's raspy tenor is joined not only by a legion of avant-garde brethren (including names like Beaver Harris and Grachan Moncur), but also by the funky wood of electric bass, guitar, and organ. Some will find those later tracks a bit hard to take. Some will even find themselves snickering. But for anyone wishing to understand the music and career of this brilliant musician, this is an undervalued piece of the puzzle. ~ Rob Ferrier, All Music Guide



Archie Shepp

Active Decades: '60s, '70s, '80s, '90s and '00s
Born: May 24, 1937 in Fort Lauderdale, FL
Genre: 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

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