Archie Shepp - The Cry Of My People

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 42:56
Size: 99,3 MB
Art: Front

(4:39)  1. Rest Enough (Song To Mother)
(6:29)  2. A Prayer
(2:56)  3. All God's Children Got A Home In The Universe
(5:28)  4. The Lady
(5:43)  5. The Cry Of My People
(0:35)  6. African Drum Suite, Pt. 1
(7:32)  7. African Drum Suite, Pt. 2
(9:30)  8. Come Sunday

Archie Shepp is an artist whose work, while not always successful, nevertheless remains compelling and worth a listen. The Cry of My People is not his best effort, but one can respect his maverick approach to jazz scholarship that resists classification and challenges the notion of what can be defined as jazz. This album comes from a period in the early seventies where Shepp was absorbing all manner of black music from gospel to blues to Ellington into his compositions. The result is an recording that is consistently interesting, although a bit schizophrenic. Employing a very large ensemble that includes a choir and string section along with an expanded jazz group, Shepp stubbornly refuses to mix his influences, yet he obviously views them all as part of a vast continuum of musical expression. Listeners may be bewildered by the opening “Rest Enough,” a straightforward gospel tune, and equally puzzled by the segue into “A Prayer,” a brooding instrumental composed by Cal Massey, who arranged the album and died shortly after completing his work. After another gospel tune comes “The Lady,” a bleak tune with a suitably resigned vocal by Joe Lee Wilson. The first half of the record veers from the exuberance of the gospel music to the haunting beauty of a more mainstream jazz sound, yet Shepp remains the guiding force with his stinging, restless attack on both tenor and soprano sax, a dizzying squall of powerful notes. Further resisting categorization, the second side embraces the dissonant chanting and ominous drone of African music on the title track and the “African Drum Suite.” Although challenging, this side teeters between being repetitive and jarring, yet it's redeemed at the end by a lovely treatment of Ellington’s “Come Sunday,” featuring a great vocal by Wilson and fiery, passionate soloing by Shepp, showing why he was so highly regarded by artists such as Coltrane. Those who peg Shepp as a member of the avant-garde may be surprised by how accessible The Cry of My People is, regardless of whether or not they can embrace the adventurous nature or social consciousness of his work. Clearly his approach isn’t for everyone. Shepp fans, of course, will be delighted to see this one back in print. ~ David Rickert https://www.allaboutjazz.com/the-cry-of-my-people-archie-shepp-impulse-review-by-david-rickert.php

Personnel: Archie Shepp - tenor and soprano saxophone; Harold Mabern, Dave Burrell - piano; Charles McGhee - trumpet; Charles Greenlee, Charles Stephens - trombone;  Cornell Dupree - guitar;  Ron Carter - electric bass; Jimmy Garrison - bass; Bernard Purdie - drums;  Beaver Harris - drums;  Nene DeFense, Terry Quaye - congas, percussion, tambourine; Guilherme Franco - berimbau, Brazilian percussion;  Peggie Blue, Joe Lee Wilson - lead vocals; Andre Franklin, Mildred Lane, Mary Stephens, Barbara White, Judith White - backing vocals; John Blake, Gayle Dixon, Leroy Jenkins, Lois Siessinger, Noel DeCosta, Jerry Little - violin;  Patricia Dixon, Esther Mellon - cello

The Cry Of My People

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Anita Harris - My Heart Belongs to Jazz

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 57:43
Size: 133,8 MB
Art: Front

(4:13)  1. My Heart Belongs to Daddy
(3:01)  2. There's a Lull in My Life
(3:04)  3. They All Laughed
(4:56)  4. Over the Rainbow
(3:58)  5. Just in Time
(3:48)  6. Small Fry
(3:57)  7. The More I See You
(4:46)  8. Star Dust
(2:39)  9. I Got Rhythm
(4:57) 10. Tea for Two
(4:31) 11. Dream Dancing
(2:16) 12. You Must Believe in Spring
(3:17) 13. Just You Just Me
(2:27) 14. Glad to Be Unhappy
(2:38) 15. Jeepers Creepers
(3:07) 16. Lovers After All

"Anita sang...accompanied by her father, Kim, on piano, so hauntingly that listeners were moved to tears. Kim is the perfect piano accompanist. He has a gift of sympathetic rapport with the singer's dynamics that make accompanying such a challenging and satisfying art." Neville Turner, Jazzline http://newmarketmusic.com/album/Anita-Harris-%252d-My-Heart-Belongs-To-Jazz.html

My Heart Belongs to Jazz

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Bobby Watson - Appointment In Milano

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 43:12
Size: 100,4 MB
Art: Front

(10:00)  1. Appointment In Milano
( 8:01)  2. Ballando (dancing)
( 3:31)  3. If Bird Could See Me Now
( 6:26)  4. Watson's Blues
( 8:03)  5. (i'm) Always Missing You
( 7:10)  6. Funcalypso

During 1983-86 altoist Bobby Watson recorded fairly regularly for the Italian Red label. On this album he is joined by an obscure but talented Italian rhythm section (pianist Piero Bassini, bassist Attilio Zanchi and drummer Giampiero Prina) called the Open Form Trio. Actually the highpoint of the date is Watson's unaccompanied solo on "If Bird Could See Me Now." Other memorable selections on the well-rounded set include "Watson's Blues," the ballad "Always Missing You" and the spirited "Funcalypso." Bobby Watson (who doubles on this album on soprano) at that point in time was combining advanced hard bop with some influences from the avant-garde, carving out his own style. Recommended. ~ Scott Yanow https://www.allmusic.com/album/appointment-in-milano-mw0000088997

Personnel:  Alto Saxophone – Bobby Watson;  Bass – Attilio Zanchi; Drums – Giampiero Prina ; Piano – Piero Bassini

Appointment In Milano

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Roy Haynes - We Three

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 39:18
Size: 90,6 MB
Art: Front

( 4:21)  1. Reflection
( 6:23)  2. Sugar Ray
( 8:51)  3. Solitaire
(11:18)  4. After Hours
( 4:21)  5. Sneakin' Around
( 4:01)  6. Our Delight

We Three, recorded in a single session on November 14, 1958, was the first American studio date as a bandleader for the diminutive and legendary jazz drummer Roy Haynes, although with pianist Phineas Newborn on board (along with bassist Paul Chambers), it really is a set dominated by Newborn, whose busy, two-handed technique here works in tandem balance with Haynes' cool refinement. Newborn was all about amazing and dazzling piano runs that on some dates created simply too much flash and clutter to allow pieces to flow and breathe properly, but Haynes has always been about grace and flow throughout his career (if a drummer's style can said to be elegant, Haynes fits the bill), and here he rubs off on Newborn, who exercises just enough restraint to keep him in the proper orbit, resulting in a fine album. Highlights include the easy, pure swing of the opener, a version of Ray Bryant's "Reflection," a wonderful and bluesy rendition of Avery Parrish's "After Hours" (which finds Newborn in perfect balance between explosive ornamentation and smooth functionality), and a jaunty, fun spin through Newborn's own "Sugar Ray," a tribute to boxer Sugar Ray Robinson. This trio had a brief recording career together, but as this solid set shows, they made the best of it. ~ Steve Leggett https://www.allmusic.com/album/we-three-mw0000372505

Personnel: Roy Haynes - drums; Phineas Newborn Jr. - piano; Paul Chambers - bass

We Three

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Freddie Roach - Good Move

Styles: Jazz, Post Bop
Year: 1963
File: MP3@320K/s
Time: 43:06
Size: 99,6 MB
Art: Front

(5:02)  1. It Ain't Necessarily So
(5:21)  2. When Malindy Sings
(4:31)  3. Pastel
(6:31)  4. Wine, Wine, Wine
(6:20)  5. On Our Way Up
(4:58)  6. T'Ain't What You Do (It's The Way You Do It)
(4:59)  7. Lots Of Lovely Love
(5:20)  8. I.Q. Blues

Laid-back and loosely swinging, Good Move captures organist Freddie Roach near the peak of his form. Roach never leans too heavily on his instrument, preferring a calmer, tasteful attack, yet he is never boring because he has a strong sense of groove. He keeps things moving on slower numbers like Erroll Garner's "Pastel" and Gershwin's "It Ain't Necessarily So," but the true highlights are on originals like "Wine, Wine, Wine" and "On Our Way Up," where the bluesy structures and fluid rhythms give Roach a chance to stretch out. Throughout the record, he is capably supported by guitarist Eddie Wright and drummer Clarence Johnston, as well as trumpeter Blue Mitchell and tenor saxophonist Hank Mobley, who both contribute fine solos. ~ Stephen Tomas Erlewine https://www.allmusic.com/album/good-move%21-mw0000063281

Personnel: Organ – Freddie Roach; Drums – Clarence Johnston; Guitar – Eddie Wright; Tenor Saxophone – Hank Mobley; Trumpet – Blue Mitchell

Good Move

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