|Shepp, Archie / New York Contemporary Five, The|
|Album:||New York Contemporary Five, The||Collection:||Jazz|
|Add Date:||2011-01-09||Pull Date:||2011-03-13||Charts:||Jazz|
|Week Ending:||13 Mar||6 Mar||27 Feb||30 Jan||23 Jan||16 Jan|
|1.||Tue, 08 Mar 11:||Be Sharp|
|4.||Sat, 29 Jan 11:||Eme O|
|2.||Thu, 03 Mar 11:||Kremit The Horn|
Orangeasm - Mooseport
|5.||Sun, 23 Jan 11:||Flowmingo / DJ Mouton|
My Little Pony
|3.||Sat, 26 Feb 11:||Eme O|
|6.||Sat, 22 Jan 11:||D. Cannibal|
Archie Shepp is by far one of the greatest jazz saxophonists, and an influential monolith in modern jazz. What we have here is a critical recording in the history of jazz, a 1963 Copenhagen concert with the New York Contemporary Five. Despite his short stint with the combo, the sound is wild and fresh and is still miles ahead of other rather dated-sounding free jazz that was to come after it. Shepp is joined by Don Cherry on trumpet, John Tchicai on alto, and a rhythm section of Don Moore on bass and JC Moses on drums. Like Ornette Coleman, whose influence on this music is pronounced, there is no harmonic support from a chord-playing instrument, so the winds are free to explore various themes with little to no tonal center. Like the best of free jazz, this recording presents a statement of controlled noise from a combination of excellent musicians breaking new ground in jazz.|
1. Dissonant harmonies from the trumpet and sax bookend this long, energetic piece, with frenetic drumming accompanying the sonic explorations of Shepp and co.
2. A short, calm piece with a basic compositional framework, beautiful harmonies from the woodwinds while the trumpet plays the melody, occasional improvisation throughout.
3. Old-timey swingin’ song reminiscent of Sonny Rollins’ “Tenor Madness,” though of course Shepp adds his own brilliance to the piece with shredding and screaming sax. ALBUM HIGHLIGHT
4. A punchy number with surprisingly cohesive harmonizing and drum solos in the main melody, subdued yet skillful soloing follows.
5. Slow, somber, yet screaming solos from all the musicians, sounds like a free jazz eulogy.
6. Confounding harmonic textures begin the piece, with warbling solos over off-kilter drumming.
|1.||Cisum||4.||When Will The Blues Leave|
|2.||Crepuscule With Nellie||5.||The Funeral|