Archie Shepp returns to some of the hippest, most righteous modes of his early 70s album for Impulse Records – especially those post-Paris sessions that often brought in singers and an expanded instrumental lineup! The performance here is a live one, and features beautiful vocals from Amina Claudine Myers, Marion Rampal, and Cecile McLorin Salvant – who sometimes work in a righteous chorus mode, sometimes sing solo, to bring out this depth in the compositions that we really love. Shep's on tenor and soprano sax, and sings a bit too – and there's a larger ensemble that features Famadou Don Moye on drums and percussion, plus guitar, trumpets, trombones, and even some added strings. Jimmy Owens conducts, and titles include a very cool reworking of the classic "Blues For Brother G Jackson" – plus "Quiet Dawn", "Cry Of My People", "Arms", "Attica Blues", "Mama Too Tight", and "Goodbye Sweet Pops". CD

Duets between pianist Siegfried Kessler and Archie Shepp on saxophone and vocals. Tracks include "Le Matin des Noirs", "Lush Life", "Steam", and "Ujaama". CD

From the end of the 70s onward, the Italian Black Saint record label offered up some of the most high quality spiritual and avant jazz of the time – really taking over where American record companies had dropped the ball, and allowing a huge wave of new energy from both older musicians and a younger generation who might never have gotten the right level of exposure, had Black Saint (and related Soul Note imprint) stepped into the scene! This package offers up some of the coolest cuts from Black Saint – and has an especially strong focus on the work that the label did to carry forward older spiritual sounds, especially those first unlocked on Impulse Records – a legacy that really comes through strongly here. Titles include "Love On A Far Away Planet" and "Mayan Temples" by Sun Ra, "Song For Mozambique/Sea Of Faces" by Archie Shepp, "Guitar Vibes" by Karl Berger, "Tap Dancer" by Oliver Lake, "Ode To The Flower Maiden" by John Carter, "Mama Marimba" by Joseph Jarman and Donh Moye, "Sixth Sense" by Don Pullen, "Hattie Wall" by World Saxophone Quartet, "Laja" by Muhal Richard Abrams, and "Metamusician's Stomp" by Andrew Cyrille & Maono. (Funky Compilations, Jazz) LP, Vinyl record album

Three later albums from pianist Horace Parlan – all cut overseas, many years after his early work for Blue Note! On Joe Meets The Rhythm Section, the "Joe" is Dutch tenorist Joe Van Enkhuizen, who's a great fit with a trio that features Horace Parlan on piano, Rufus Reid on bass, and Al Harewood on drums! The album's got that subtle approach that marks Parlan's later years – a less all-out style than his start on Blue Note, but one that's maybe even more rewarding if you're willing to let yourself slide into it – something that's easy to do when you've got Joe pointing the way with his well-blown, raspy-edged tenor! Reid is mighty nice too – with those instantly-deep notes that always grab us strongly when he's recorded this well – the sort of presence that most other bassists would need to be electric to reach. Titles include "Alfie's Theme", "Bluesville", "FSR", "Wadin", and "Willow Weep For Me". Ellington Ballads is a nice little record that's very much along the lines of the duet sessions that pianist Horace Parlan cut with Archie Shepp – done with a similar open, soulful style that really brings a lot of personal energy to these tunes penned by Duke Ellington! This might be the first time we've ever heard tenorist Joe Van Enkhuizen, but he's a surprisingly great player – and one who carves out these raspy lines on his instrument that fit really well with the well-crafted lines from Parlan's piano – a lot more subtle and spacious than during his Blue Note years, but maybe even more powerful because of that. Titles include "Serenade To Sweden", "I Got It Bad", "Prelude To A Kiss", "Melancholy", "Sophisticated Lady", and "Creole Blues/Tonight I Shall Sleep". Pannonica is a tight little live set from pianist Horace Parlan – recorded with a wonderful trio that features Reggie Johnson on bass and Alvin Queen on drums – both players who seem to effortlessly match Parlan's shifts at every stage of the proceedings! The tracks are relatively long, and showcase all those changes that Horace had made on the European scene since his earlier years on Blue Note – that move towards warmer, more lyrical elements in his music – but still shaped with his ear for soulful modernism too. The titles are all familiar, but served up at the level that can make the right sort of live piano date sound so great – on selections that include "Hi Fly", "Who Cares", "No Greater Love", and "Pannonica". CD

A nice little record that's very much along the lines of the duet sessions that pianist Horace Parlan cut with Archie Shepp – done with a similar open, soulful style that really brings a lot of personal energy to these tunes penned by Duke Ellington! This might be the first time we've ever heard tenorist Joe Van Enkhuizen, but he's a surprisingly great player – and one who carves out these raspy lines on his instrument that fit really well with the well-crafted lines from Parlan's piano – a lot more subtle and spacious than during his Blue Note years, but maybe even more powerful because of that. Titles include "Serenade To Sweden", "I Got It Bad", "Prelude To A Kiss", "Melancholy", "Sophisticated Lady", and "Creole Blues/Tonight I Shall Sleep". CD

A classic of spiritual, soulful jazz – and one of Archie Shepp's greatest albums! The set was recorded in New York after a few free and festive years in Paris, and it's an amazing about-face that has Archie stepping into a world of righteous, full-on, political, and funky themes – the likes of which are far more outspoken than any of his previous recordings. The group on the set is quite a large one – hip New York underground players, a small string ensemble, and even a few singers – like soul diva Joshie Armstead and vocalist Joe Lee Wilson. Overall, the sound's somewhere in the same place as the Art Ensemble of Chicago's amazing Les Stances A Sophie – in that the record comes from a free jazz tradition, but moves into a more rhythmic focus in order to communicate its message. The added vocals and recitations are wonderful – very moving, and much less hippy-dippy than on other Shepp records of the time – and the whole thing holds together with a unique sound and substance that's made it a treasure that holds up again and again. A true gem, and one we'll never part with! Tracks include "Quiet Dawn", "Goodbye Sweet Pops", "Steam (parts 1 & 2)", "Attica Blues", "Blues For Brother George Jackson", and "Ballad For A Child". CD

A classic of spiritual, soulful jazz – and one of Archie Shepp's greatest albums! The set was recorded in New York after a few free and festive years in Paris, and it's an amazing about-face that has Archie stepping into a world of righteous, full-on, political, and funky themes – the likes of which are far more outspoken than any of his previous recordings. The group on the set is quite a large one – hip New York underground players, a small string ensemble, and even a few singers – like soul diva Joshie Armstead and vocalist Joe Lee Wilson. Overall, the sound's somewhere in the same place as the Art Ensemble of Chicago's amazing Les Stances A Sophie – in that the record comes from a free jazz tradition, but moves into a more rhythmic focus in order to communicate its message. The added vocals and recitations are wonderful – very moving, and much less hippy-dippy than on other Shepp records of the time – and the whole thing holds together with a unique sound and substance that's made it a treasure that holds up again and again. A true gem, and one we'll never part with! Tracks include "Quiet Dawn", "Goodbye Sweet Pops", "Steam (parts 1 & 2)", "Attica Blues", "Blues For Brother George Jackson", and "Ballad For A Child". LP, Vinyl record album

A classic of spiritual, soulful jazz – and one of Archie Shepp's greatest albums! The set was recorded in New York after a few free and festive years in Paris, and it's an amazing about-face that has Archie stepping into a world of righteous, full-on, political, and funky themes – the likes of which are far more outspoken than any of his previous recordings. The group on the set is quite a large one – hip New York underground players, a small string ensemble, and even a few singers – like soul diva Joshie Armstead and vocalist Joe Lee Wilson. Overall, the sound's somewhere in the same place as the Art Ensemble of Chicago's amazing Les Stances A Sophie – in that the record comes from a free jazz tradition, but moves into a more rhythmic focus in order to communicate its message. The added vocals and recitations are wonderful – very moving, and much less hippy-dippy than on other Shepp records of the time – and the whole thing holds together with a unique sound and substance that's made it a treasure that holds up again and again. A true gem, and one we'll never part with! Tracks include "Quiet Dawn", "Goodbye Sweet Pops", "Steam (parts 1 & 2)", "Attica Blues", "Blues For Brother George Jackson", and "Ballad For A Child". CD

Attica Blues, and beyond – a great late 70s performance that has Archie Shepp turning the clock back towards that famous album – but also making some very new grooves with a richly expanded lineup! The double-length set was recorded in Paris, in front of a very lively crowd – and it's honestly one of Shepp's most dynamic records from the time – definitely inspired by all the freedom he'd had in the French scene for the previous decade – yet also brought together with a great sense of focus too. The lineup is excellent – with vocals from Joe Lee Wilson and Irene Datcher – trumpets from Malachi Thompson, Charles McGhee, and Roy Burrowes; trombones from Charles Greenlee, Dick Griffin, and Steve Turre; reeds from Marion Brown, James Ware, and Marvin Blackman; plus piano from Art Matthews, some added strings, great percussion, and piano, tenor, and soprano sax from Shepp himself! Ray Copeland directs the group – giving it the hip focus of his few key recordings like this – and titles include "Star Love", "Moon Bees", "Attica Blues" (in two parts), "Steam", "Quiet Dawn", "Hi Fly", "U-Jaama", "Ballad For A Child", "Simone", "Crucificado", :A Change Has Come Over Me", "Goodbye Sweet Pops", and "Skippin'". CD

One of Archie Shepp's most fragile and most beautiful albums – a set of mellower tunes dedicated to John Coltrane, played on tenor and soprano sax with support from a trio that includes Albert Dailey on piano, Reggie Workman on bass, and Charlie Persip on drums! The album's a real standout in Shepp's aging stretch – a session that's much more straight ahead than his earlier work, but which also benefits from his years of more exploratory blowing – experience that echoes out here in powerful notes and phrasings that he brings into the tunes at delightfully unexpected moments. As with Shepp's earlier Four For Trane album for Impulse, the sound here is not a copycat of Coltrane at all – but a fresh new vision that takes inspiration from the creativity of the master, and works with the same sense of soul and striving. Titles include "Soul Eyes", "You Don't Know What Love Is", "Wise One", "Where Are You", and "Theme For Ernie". CD

Archie Shepp is one of the most unique players in jazz – an artist who started out completely avant at the beginning of his career, then moved to spiritual jazz explorations, then to straighter jazz material in later decades – but always with all that knowledge of the edges and farther realms of jazz he explored in his other music! That's definitely the case here – as Shepp takes on a host of ballads, but with all these edges and dark passages that are completely different than you'd hear from any other player – cast beautifully with help from Horace Parlan on piano, Wayne Dockery on bass, and Steve McRaven on drums. Shepp blows alto and tenor, and in addition to the titles "Smoke Gets In Your Eyes", "Lush Life", "Angel Eyes", "All Too Soon", and "Embraceable You" – the set also features Shepp originals "Deja Vu" and "I Know About The Life". LP, Vinyl record album

Blue blowing from Archie Shepp – a great set of ballads from later years, recorded at a time when Shepp had stepped back inside considerably from his styles of the past – but still brought a great depth of soul to his recordings! The tunes here are mostly familiar numbers, but Archie blows them with a tone and timing that's amazing – an approach that's almost comparable to the late years of Coleman Hawkins, at least for its understated brilliance. Other group members are great too – and include John Hicks on piano, George Mraz on bass, and Idris Muhammad on drums – the last of whom is wonderfully restrained on the date. Titles include "More Than You Know", "Little Girl Blue", "Blue & Sentimental", "If I Should Lose You", and "Alone Together". CD

Blue blowing from Archie Shepp – a great set of ballads from later years, recorded at a time when Shepp had stepped back inside considerably from his styles of the past – but still brought a great depth of soul to his recordings! The tunes here are mostly familiar numbers, but Archie blows them with a tone and timing that's amazing – an approach that's almost comparable to the late years of Coleman Hawkins, at least for its understated brilliance. Other group members are great too – and include John Hicks on piano, George Mraz on bass, and Idris Muhammad on drums – the last of whom is wonderfully restrained on the date. Titles include "More Than You Know", "Little Girl Blue", "Blue & Sentimental", "If I Should Lose You", and "Alone Together". CD

Sublime overseas work from these two legendary musicians – both players from different scenes in the US, and who never would have crossed paths back in the day – but who really sparkle here with a sense of brilliance that brings out the best in both artists! There's no other accompaniment at all – just the piano of Horace Parlan alongside the tenor and soprano sax of Archie Shepp – right at that point when Shepp was exploring more conventional structures of jazz, but with all the knowledge he'd learned from the avant scene – which makes for wonderfully soulful ballads here that are unlike anything you might expect. Parlan is great too – stretching out in the very resonant space of the recording – and titles include "Deep River", "Goin Home", "Amazing Grace", "Go Down Moses", and "My Lord What A Morning". CD

Sublime overseas work from these two legendary musicians – both players from different scenes in the US, and who never would have crossed paths back in the day – but who really sparkle here with a sense of brilliance that brings out the best in both artists! There's no other accompaniment at all – just the piano of Horace Parlan alongside the tenor and soprano sax of Archie Shepp – right at that point when Shepp was exploring more conventional structures of jazz, but with all the knowledge he'd learned from the avant scene – which makes for wonderfully soulful ballads here that are unlike anything you might expect. Parlan is great too – stretching out in the very resonant space of the recording – and titles include "Deep River", "Goin Home", "Amazing Grace", "Go Down Moses", and "My Lord What A Morning". LP, Vinyl record album

Sublime overseas work from these two legendary musicians – both players from different scenes in the US, and who never would have crossed paths back in the day – but who really sparkle here with a sense of brilliance that brings out the best in both artists! There's no other accompaniment at all – just the piano of Horace Parlan alongside the tenor and soprano sax of Archie Shepp – right at that point when Shepp was exploring more conventional structures of jazz, but with all the knowledge he'd learned from the avant scene – which makes for wonderfully soulful ballads here that are unlike anything you might expect. Parlan is great too – stretching out in the very resonant space of the recording – and titles include "Deep River", "Goin Home", "Amazing Grace", "Go Down Moses", and "My Lord What A Morning". LP, Vinyl record album

The title says it all – as the record's a session of ballads recorded by modern tenor giant David S Ware – done in a mode that's filled with soul and imagination, and a sense of care that possibly makes the album one of Ware's greatest in many many years! The group here is a quartet of familiar players – Matthew Shipp on piano, William Parker on bass, and Guillermo Brown on drums – but Ware is clearly the star of the set, and rolls out quietly contemplative solos that are awash in earthy phrasing – sounding a bit like some of Archie Shepp's best recordings in a similar mode from the late 70s. And in case you worry that David's getting soft with these ballads, there's no fear of that – because his interpretation of the tunes is still free-thinking and complex – a record that can stand proudly next to the best of his older catalog. Titles include "Yesterdays", "Dao", "Autumn Leaves", "Godspelized", "Sentient Compassion", and "Angel Eyes". CD

The brilliant 3rd album from Mike Westbrook – a sharp-edged, two volume set with a scathing anti-war theme! The work is Westbrook's first total-concept album, and it's still one of his best – written with an edge that's free from some of the more whimsical touches that showed up in Mike's later years, and played by a core group of British avant soloists with searing intensity! You've never heard large group scoring like this – bold, ambitious, and quite different than most of what's come before. And although the whole thing sounds as if it's going to fall apart at any moment, it always snaps back into a sharp focus just in the nick of time – with brilliant results that bring the same sense of surprise that you might get from, say, a classic album from Charles Mingus or Archie Shepp! Players include Kenny Wheeler and Henry Lowther on trumpets, Mike Gibbs and Paul Rutherford on trombones, John Surman on baritone and soprano sax, Mike Osborne on alto and clarinet, Alan Skidmore on tenor and flute, Brian Smith on tenor, and Harry Miller and Barre Phillips on bass. This set features both volumes of the recording – with titles that include "Landscape", "Hooray", "Other World", "Marching Song", "Transition", "Rosie", "Tension", "Ballad", "Conflict", and "Requiem". LP, Vinyl record album

The brilliant 3rd album from Mike Westbrook – a sharp-edged, two volume set with a scathing anti-war theme! The work is Westbrook's first total-concept album, and it's still one of his best – written with an edge that's free from some of the more whimsical touches that showed up in Mike's later years, and played by a core group of British avant soloists with searing intensity! You've never heard large group scoring like this – bold, ambitious, and quite different than most of what's come before. And although the whole thing sounds as if it's going to fall apart at any moment, it always snaps back into a sharp focus just in the nick of time – with brilliant results that bring the same sense of surprise that you might get from, say, a classic album from Charles Mingus or Archie Shepp! Players include Kenny Wheeler and Henry Lowther on trumpets, Mike Gibbs and Paul Rutherford on trombones, John Surman on baritone and soprano sax, Mike Osborne on alto and clarinet, Alan Skidmore on tenor and flute, Brian Smith on tenor, and Harry Miller and Barre Phillips on bass. Titles on this second volume include "Transition", "Rosie", "Tension", "Ballad", "Conflict", and "Requiem". LP, Vinyl record album

The brilliant third album from Mike Westbrook – a sharp-edged, two volume set with a scathing anti-war theme! The work is Westbrook's first total-concept album, and it's still one of his best – written with an edge that's free from some of the more whimsical touches that showed up in Mike's later years, and played by a core group of British avant soloists with searing intensity! You've never heard large group scoring like this – bold, ambitious, and quite different than most of what's come before. And although the whole thing sounds as if it's going to fall apart at any moment, it always snaps back into a sharp focus just in the nick of time – with brilliant results that bring the same sense of surprise that you might get from, say, a classic album from Charles Mingus or Archie Shepp! Players include Kenny Wheeler and Henry Lowther on trumpets, Mike Gibbs and Paul Rutherford on trombones, John Surman on baritone and soprano sax, Mike Osborne on alto and clarinet, Alan Skidmore on tenor and flute, Brian Smith on tenor, and Harry Miller and Barre Phillips on bass. This set features both volumes of the recording – with titles that include "Landscape", "Hooray", "Other World", "Marching Song", "Transition", "Rosie", "Tension", "Ballad", "Conflict", and "Requiem". Great 3CD set features a full bonus disc of rare material – including the 7" single of "Original Peter" and "Magic Garden" – 1970 recordings of "But It Must Get Better & It Will Get Better" and "When Young" by The Mike Westbrook Quartet, and a 1966 recording of "Marching Song" by the Mike Westbrook Sextet – the last three of which have never been released! CD