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| Little Red Moon |
| Archie Shepp |
első megjelenés éve: 1985
46 perc |
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| (1998)
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CD |
| 5.637 Ft
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| 1. | Little Red Moon
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| 2. | Impromptu
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| 3. | Naima
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| 4. | Whisper Not
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| 5. | Sweet Georgia Brown
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Jazz / Avant-Garde, Free Jazz
Archie Shepp - Sax (Soprano), Vocals, Sax (Tenor)
Clifford Jarvis - Drums
E. Ratiglia - Photography
Enrico Rava Trumpet, Flugelhorn
Gennaro Carone Engineer
Giancarlo Barigozzi Engineer
Giovanni Bonandrini Producer
Giuliano Crivelli Cover Painting
Mike Zwerin Liner Notes
Niridan Cover Art
Siegfried Kessler Piano, Synthesizer
Wilbur Little Bass
By 1985 Archie Shepp's tone on tenor had declined quite a bit from just a few years earlier. This should have been a strong set for the sidemen (trumpeter Enrico Rava, keyboardist Siegfried Kessler, bassist Wilbur Little and drummer Clifford Jarvis) are excellent and the repertoire is both diverse and challenging. However Shepp fouls up "Naima" by playing his out-of-tune soprano, talks and sings on the 18-minute "Little Red Moon" more than he plays tenor and his sax sounds quite sloppy on "Whisper Not" and "Sweet Georgia Brown." Despite some good moments from the supporting cast, this is one to skip.
---Scott Yanow, AMG
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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