Shepp Fire Music

All CD's remastered by Erick Labson using 20-bit Super Mapping except ON THIS NIGHT remastered by Paul Elmore. (Erick Labson's name is spelled as "Eric Labson.")
ON THIS NIGHT uses the 1993 CD master but removes the bonus track "Malcolm, Malcom, Semper Malcolm" because the exact same recording is on FIRE MUSIC, which is also included in this set. This is noted on the CD sleeve except that it incorrectly states that the track is on MAMA TOO TIGHT.

At various times in his long career, saxophonist, composer, playwright, and educator Archie Shepp has been regarded as a musical firebrand, cultural radical, soulful throwback to the jazz tradition, contemplative veteran explorer, and global jazz statesman…

At various times in his long career, saxophonist, composer, playwright, and educator Archie Shepp has been regarded as a musical firebrand, cultural radical, soulful throwback to the jazz tradition, contemplative veteran explorer, and global jazz statesman…

At various times in his long career, saxophonist, composer, playwright, and educator Archie Shepp has been regarded as a musical firebrand, cultural radical, soulful throwback to the jazz tradition, contemplative veteran explorer, and global jazz statesman…

At various times in his long career, saxophonist, composer, playwright, and educator Archie Shepp has been regarded as a musical firebrand, cultural radical, soulful throwback to the jazz tradition, contemplative veteran explorer, and global jazz statesman. During the '60s, he was viewed as possibly the most articulate and intense member of the free jazz generation, issuing records such as Fire Music, The Way Ahead, and The Magic of Ju-Ju to speak hard truths about social injustice and the anger he felt. His tenor sax solos are searing, harsh, and unrelenting, played with a vivid intensity. During the mid-'70s, his work employed a fatback/swing-based R&B approach evoking Duke Ellington and Ben Webster (exemplified on Body and Soul and On Green Dolphin Street), while in the '80s, on recordings such as Mama Rose, he mixed straight bop, ballads, and blues that displayed little of the fury and fire of his earlier days…

Archie Shepp Attica Blues Big Band - Live At The Palais Des Glaces (1979) {2CD Set Blue Marge 1001 rel 2004}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 636 Mb | MP3 @320 -> 227 Mb
Full Artwork @ 300 dpi (jpg) -> 14 Mb | 5% repair rar
© 1979, 2004 Terrones / Blue Marge | 1001
Jazz / Avant-Garde Jazz / Experimental Big Band / Fusion / Hard Bop / Jazz-Funk / Saxophone

From the outset, Archie Shepp's terminally misunderstood Attica Blues on Impulse during the 1970s was an attempt by the saxophonist and composer to bring together the various kinds of African American musics under one heading and have them all express the conscience of the day. His ensemble featured singers, string players, horns, drums, guitars, etc. The sounds were a Gordian knot of jazz, free music, R&B, soul, groove, and even funk. In 1979 Shepp was given the opportunity to realize the project with an ensemble of his choosing at the Palais des Glaces in Paris (New York was already courting Wimpton Marsalis). Shepp chose 30 musicians and director/conductor Ray Copeland. Among the throng were saxophonists Marion Brown, John Purcell, Patience Higgins, and John Ware.