#archie shepp

[sivavakkiyar]

So in the West, the predominantly influential form ICM was Hindustani (North Indian) music. This recording comes from the Nonesuch release ‘Pallavi: South Indian Flute Music’, which was a kind of classic amongst jazz musicians and a kind of introduction to Carnatic music for many of them (to a degree—-L Shankar plays on it, a few years after already having played on Clifford Thornton’s Communications Network and Archie Shepp’s Attica Blues). Funny for me—-the allmusic review was written by Eugene Chadbourne (!):

I am really, really far from being *particularly* knowledgeable about Carnatic music, but it is a great album, beautiful music, and kind of like Ravi Shankar’s ‘Improvisations on Pather Panchali’ and ‘Three Ragas’ are to Hindustani music a really great introduction to it imo (I think the other tracks are also on YouTube, this is track 1)

#Carnatic music #L Shankar #Eugene Chadbourne #Archie Shepp #Clifford Thornton

[alesario]

Archie...

photo Carol Friedman

#archie shepp

[lisamarie-vee]

#vintage magazine #frank zappa #archie shepp #jazz & pop #1960s #rock and roll hall of fame

[undergroundrockpress]

Archie Shepp en concert au Montreux Jazz Festival, 18 juillet 1975. Photo de Dany Gignoux.

#Archie Shepp #Dany Gignoux #Montreux Jazz Festival #jazz #1975 #1970s

[dustedmagazine]

Listed: Water Damage

Water Damage plays a thick and noisy variety of drone, favoring looooooong compositions that the band refers to as “Reels”; on Water Damage’s most recent LP, 2 Songs, you get two reels, subtitled “FUCK THIS” and “FUCK THAT” (band’s caps). All those verbal antics feel appealingly playful, but the music is deadly serious stuff — not surprising, given the players involved. Members of this septet also play in Austin-associated bands like USA/Mexico, Marriage and Spray Paint. As the band’s moniker suggests, the music is patient, persistent and often insidious. Here's some music the band has been listening to.

Travis Austin

Surface of the Earth — Surface of the Earth (1994/95, Reissued 2022 Thin Wrist Recordings)

New to me when it was reissued and the record I’ve played most since then. It feels as huge to me as it does microscopic — prehistoric as it does post-apocalyptic.

Jon Hassell — Aka/Darbari/Java: Magic Realism (1983, E.G. Records)

Start to finish, I don’t know of anything else that sounds like this — the hazy atmosphere and way the rhythms tumble. From the liner notes: “a ‘coffee-colored’ classical music for the future.” And the cover is by the same artist who did the cover for Bitches Brew.

Mike Kanin

Archie Shepp — Blasé (1969, BYG/Actuel)

I heard this one for the first time just this past year. I can’t believe I’ve missed it. By turns raw and beautiful, honest and evocative, what’s here transcends genre while highlighting Black experience and struggle. Incredible work.

George Dishner

Clipse — Hell Hath No Fury (2006, Star Trak / Re Up Gang Records)

The most engaging rap record in history as far as I’m concerned. Pusha, Malice, and the Neptunes peaked. Sonically HHNF is minimal and alien sounding, almost nonmusical at times. Lyrically, it’s bleak throughout and incredibly funny at times (some of the best punchlines ever recorded). At 12 songs and 48 minutes with only a few guests and skits, there is no fat whatsoever.

Remarc — Sound Murderer (2003, Planet Mu)

I’m always looking for cheap electronic records at every record store. Mid 1990s Jungle scores are the best. It’s a pretty narrow subgenre but one of my favorites. Remarc checks all my Jungle boxes — chaotic, lo-fi, dubby, rough. It’s devoid of any pretentious jazziness or techy soullessness. His formula is pretty basic — supreme mastery of The Amen and sick ragga Bass shit. This is a comp of some of his best stuff of the era when Jungle was at its best.

Nate Cross

Omertà — Collection Particulière (2022, Standard In-Fi, Zamzamrec)

Not to point out the obvious, but France is a huge influence for Water Damage. I’ve obsessively kept up with everything they’ve done and all their various related projects and their label Standard In-Fi. This is Omertà’s second LP; the group features members of France, Tanz Mein Herz, Societe Etrange and more. The album is a vibe, I can listen to it over and over. Really interesting to hear these folks do something more ‘song oriented’ instead of the normal long-form style in their other groups. Also, you can never go wrong with two bass players.

Bumblebee Unlimited — Sting Like a Bee (1979, RCA Victor)

Always been a huge disco nerd and Patrick Adams was a genius. This one-off LP and group was about as close to perfect as you can get and is a sort of bridge between disco and house music. So much glorious repetition on this album, and the bass lines are minimal brilliance. The chipmunk-esque vocals are ridiculous, but still work so well (similar to another 1979 disco gem — Bryan Adam’s “Let Me Take You Dancing”).

Jeff Piwonka

John Coltrane — Olé Coltrane (1961, Atlantic)

This is one of the first jazz albums I heard that had two bassists on it, Reggie Workman and Art Davis, Davis being a little lesser known I think and a really really amazing bassist. This whole album is great but the first side, 18 minutes of everyone going in and out, and there is space for the bassists to get weird with arco and pizzicato playing. I’ve known this album for a long time, but it’s been played a lot lately because both my 4-year-old and 16-month-old grab this record from the shelf all the time. It’s really strange actually, I put it in a different spot each time and they still grab this record very frequently, it’s a French pressing and Reggie Workman’s name is spelled “Reggie Wokrman” and Eric Dolphy is “George Lane.”

Greg Piwonka

Lungfish — Artificial Horizon (1998, Dischord)

Love this record, and the repetition is something that I often thought about as we were still figuring out Water Damage ideas. I feel like some of the newer songs that we are working on sound like extended Lungfish songs. Much of that has to do with the influence of this band on my drumming. There is a part toward the end of this interview where Daniel Higgs talks about experiencing repetition as a listener, and how there isn’t really a thing such as a repeated passage in time — that it’s unique every time… the listener is creating the pattern. That idea is foundational to me in relation to what we do as a band. Every time we play, I get lost and question how the pattern is even working.

Palace — West Palm Beach/Gulf Shores (1994, Drag City/Palace)

These two songs back-to-back are high on the list of my favorite things ever recorded. The mood here reminds me of all the rundown beach towns around the Gulf. The playing is great, it sounds like they just went in the studio and made it with very little effort. Many other recordings have that same vibe, Neil Young’s Zuma, Songs: Ohia’s Didn’t It Rain, John Coltrane’s A Love Supreme… this list could get long. I guess a technical term for that vibe is magic. I had not listened to this for a few years and returned to it recently and instantly loved it again.

#dusted magazine #listed #water damage #surface of the earth #jon hassell #archie shepp #clipse #remarc #omertà #bumblebee unlimited #john coltrane #lungfish #palace #Youtube

[ceevee5]

#archie shepp #cecil taylor #jazz

[newjazzthings]

RED HOT ON IMPULSE

#music #vinyl #records #jazz #レコード #ジャズ #newjazzthings #new jazz things #record #ジャズレコード #アナログレコード #アナログ #ニュージャズシングス #John Coltrene #ALICE COLTRANE #PHAROAH SANDERS #archie shepp #oliver nelson #max roach #charles mingus #vinylrecord #vinylcommunity #vinylcollection #vinyl records #vinylcollector #音楽

[black]

#music #roland kirk #black classical music #charles mingus #archie shepp #jazz

[roseillith]

Archie Shepp Life at the Donaueschingen Music Festival (1967)

#m #archie shepp #Life at the Donaueschingen Music Festival

[the-garbanzo-annex-jr]

#rahsaan roland kirk #charles mingus #roy haynes #archie shepp #ed sullivan show #the inflated tear #hatian fight song #Youtube

[sivavakkiyar]

#archie shepp #Paul hindemith #Richard Strauss #jazz

[jazzdailyblog]

David Murray: The Revolutionary Voice of Contemporary Jazz

Introduction: David Murray, a towering figure in the world of jazz, has redefined the boundaries of the genre with his innovative approach and virtuosic saxophone playing. With a career spanning over four decades, Murray has captivated audiences around the world with his unique blend of traditional jazz, avant-garde experimentation, and global influences. In this blog post, we will explore the…

View On WordPress

#Albert Ayler #Archie Shepp #Ben Webster #Coleman Hawkins #David Murray #Elvin Jones #Hamiet Bluiett #Jazz History #Jazz Saxophonists #John Coltrane #Julius Hemphill #Oliver Lake #Ornette Coleman #Paul Gonsalves #Randy Weston #Steve Coleman #World Saxophone Quartet

[alesario]

Archie, 1992

photo Sophie Le Roux

#archie shepp

[de-salva]

Alb. “Woodoo Sense” (2011) ~ Inviting Archie Shepp

#Joachim Kühn #Majid Bekkas #Ramon Lopez #Archie Shepp

[soundgrammar]

Jazz pianist Dave Burrell. Photo by Shawn Brackbill.

#Dave Burrell #jazz #David Murray #Archie Shepp #Pharoah Sanders #Marion Brown

[bobrosenbaum]

Archie Shepp, The Jazz Center, New York, 1985.

Saxophonist Archie Shepp remains a powerful, original voice in American music. As a musician, author, poet and teacher he has helped to build a new foundation for contemporary, uncompromised Black American culture -- a culture which has evolved over the last 50 years to thrive well beyond the lens of the dominant white American culture, and also without a need for often-misguided white promoters.

That's not to say that Archie Shepp creates music that is insular or closed to cultures outside his own. Quite the opposite is true, in fact.

ARCHIE'S MUSIC WILL will raise a few of your hairs, challenge a few of your conventions, and give a few of your angrier thoughts some free sparring time. It will also show you what swing is all about, as well as the true roots of the Blues.

I consider myself very fortunate to have heard Archie's timeless music so deeply, to have been able to experience and capture his performances, to have met and spoken with him for a time, and even to have served with him on the board of Music Inn Studios, a non-profit calling of our mutual Philadelphia-born friend, J.R. Mitchell.

I'm not going to try to tell you anything more about Archie, except perhaps to let you know that today is his birthday.

Here are just a few links to start hearing and learning about Archie Shepp from his ground-breaking, counter-culture work in the late '60s to his National Endowment for the Arts Jazz Master recognition in 2016: Archie's mind-blowing take on Duke Ellington's Sophisticated Lady (1968); the beseeching Hipnosis (1975); his classic composition Steam live from the Montreaux Festival (1976); Archie in his seminal duo arrangement with pianist Horace Parlan on the spiritual Trouble in Mind (1986); his wonderful funky big band arrangement of another wailing classic 'Mama Too Tight' (2012); and finally Archie's NEA Jazz Master 2016 Biography.

May Archie Shepp's revolutionary artistic statement, his exhuberance and music live forever!

#archie shepp #saxophone #jazz #blues #black american culture #photography #bob rosenbaum