Archie Shepp

Infobox musical artist
Name = Archie Shepp


Img_capt = Archie Shepp live at Jazzkeller Frankfurt 1993
Background = non_vocal_instrumentalist
Birth_name =
Alias =
Born = birth date and age|1937|5|24
Fort Lauderdale, Florida, U.S.
Died =
Instrument = Tenor saxophone, soprano saxophone, piano
Genre = Jazz
Occupation = Composer, saxophonist, pianist
Years_active = 1960-present
Label = Impulse!, SteepleChase Arista, Delmark
Associated_acts = Horace Parlan
URL = [http://www.archieshepp.com/ www.archieshepp.com]
Notable_instruments =

Archie Shepp (born May 24, 1937) is a prominent American jazz saxophonist. [http://www.allmusic.com/cg/amg.dll?p=amg&searchlink=ARCHIE|SHEPP&sql=11:difexqy5ldae~T1allmusic Biography] ] Shepp is best known for his passionately Afrocentric music of the late 1960s which focused on highlighting the injustices faced by the African race, as well as for his work with the New York Contemporary Five, Horace Parlan, and his collaborations with his "New Thing" contemporaries, most notably Cecil Taylor and John Coltrane.

Biography

Early life

Shepp was born in Fort Lauderdale, Florida, but raised in Philadelphia, Pennsylvania, where he studied piano, clarinet and alto saxophone before focusing on tenor saxophone (he occasionally plays soprano saxophone and piano).Shepp studied drama at Goddard College from 1955 to 1959, but after a lack of success in securing acting jobs after moving to New York, he turned to music professionally. He played in a Latin jazz band for a short time before joining the band of avant-garde pianist Cecil Taylor, who at that time was just beginning to blossom from merely a very eccentric Thelonious Monk-influenced young upstart into one of the most important and controversial figures of the 1960s avantgarde. Shepp appeared on "Air", "The World Of Cecil Taylor" and "Cell Walk For Celeste", all of which remain defining Taylor recordings.

John Coltrane

His first notable forays into recording under his own name came with the New York Contemporary Five band, which included Don Cherry. John Coltrane's admiration led to recordings for "Impulse!", the first of which was "Four for Trane" in 1964, an album of mainly Coltrane compositions on which he was sided by his long-time friend, trombonist Roswell Rudd, bassist Reggie Workman and alto player John Tchicai. The album "Giant Steps" had been one of Coltrane's best-known, and this collection of new versions on Coltrane's own label was a statement that jazz was not standing still. And Coltrane, Shepp and others were about to move it forward again.

Shepp participated in the sessions for Coltrane's "A Love Supreme" in early 1965 but none of the takes he participated in were included on the final LP release (they were made available for the first time on a 2002 reissue). However, Shepp, along with Tchicai and others from the "Four for Trane" sessions, then cut the massively influential and extremely avantgarde "Ascension" with Coltrane in 1965, and his place alongside Trane at the forefront of the avantgarde scene was epitomized when the pair split a record (the first side a Coltrane set, the second a Shepp set) entitled "New Thing at Newport" released in late 1965. Some critics felt Shepp was rather too heavily influenced by Coltrane, though Trane's influence at the time was so vast that nearly every saxophonist who was attaining stardom at the time was on the receiving end of this criticism at one point in their careers (most notably Wayne Shorter).

Fire Music

1965 also saw the release of the "Fire Music" LP which included the first signs of Shepp's increasingly prominent political consciousness and Afrocentricity: it included the reading of an elegy for Malcolm X, and the title is derived from a ceremonial African music tradition and highlights the passion and anger of the whole project. It also saw Shepp pushing the boundaries of jazz but remaining somewhat tethered to bebop traditions, as the saxophonist performed standards "Prelude To A Kiss" and "The Girl From Ipanema" with a variety of tempos and interplay of horns.

The Magic of Ju-Ju

"The Magic of Ju-Ju" in 1967 also took its name from African musical traditions and this time the music too dived headlong into the continent's music itself, utilising a frenetic African percussion ensemble. At this time, many African-American jazzmen were becoming increasingly aware of Afrocentrism and the musical traditions of the African continent; along with Pharoah Sanders, Archie Shepp was at the forefront of this movement. "The Magic of Ju-Ju" defined Shepp's sound for the next few years - seemingly chaotic avantgarde sax lines coupled with the rhythms and ideologies of Africa.

The 1970s and after

Shepp continued to experiment into the new decade, at various times including harmonica players and spoken word poets in his ensembles. "Attica Blues" and "The Cry of My People", meanwhile, from 1972 were Shepp's angriest statements of black freedom yet. The former was his response to the Attica Prison riots.

In the late 1970s and beyond, Shepp's career zigzagged between various old territories and various new territories. He continued to explore the music of Africa, while also recording blues, ballads, spirituals (on the 1977 album "Goin' Home" with Horace Parlan) and tributes to more traditional jazz figures like Charlie Parker and Sidney Bechet while at other times dabbling in R&B, and recording with various European artists like Jasper Van't Hof,Tchangodei and Dresch Mihály. Since the early nineties he often plays with the French trumpet player Eric Le Lann with whom he recorded the album "Live in Paris" in 1995.

Teaching career

Beginning in 1971 Archie Shepp began a thirty year career as a professor of music at the University of Massachusetts Amherst. Shepp's first two courses were entitled "Revolutionary Concepts in African-American Music" and "Black Musician in the Theater." [Citation | first = Bradley | last = Farberman | year = 2007 | title = Retired Prof. Archie Shepp discuses legendary career | Section = Arts & Living | publisher = The Massachusetts Daily Collegian | location = United States | date = 29 January 2007]

Other media

Shepp has returned to his first love, drama, at various times in his career - his works include The Communist (1965) and Lady Day: A Musical Tragedy (1972, which were produced by Robert Kalfin and the Chelsea Theater Center).

From the 1970s to the early 2000s Archie Shepp was a professor in the African-American Studies department at the University of Massachusetts, Amherst, where he taught both music and music history.During the early 1970s Shepp was also a professor of African American Studies at SUNY at Buffalo.

Shepp is featured in the 1981 documentary film "Imagine the Sound", in which he discusses and performs his music and poetry.

Shepp also appears in "Mystery, Mr. Ra", a 1984 French documentary about Sun Ra, in which he is interviewed about his experience with the enigmatic jazz legend. The film also includes [http://www.youtube.com/watch?v=HBCSzstUEsc#32TJ-tVOaEg/ footage] of Shepp playing with Sun Ra's Arkestra.

Discography

* "Four for Trane" - (1964) Impulse! Records
* "Fire Music" - (1965) Impulse! Records
* "On This Night" (1965) Impulse! Records
* "The Magic of Ju-Ju" (1967) Impulse! Records
* "The Way Ahead" (1968) - Impulse! Records
* "Kwanza" - (1968-69) Impulse! Records
* "Attica Blues" (1972) Impulse! Records
* "The Cry of My People" (1972) Impulse! Records
* "Goin' Home" (1977 with Horace Parlan)
* "Duet "- (1978 with Dollar Brand)
* "Trouble in Mind" (1980 with Horace Parlan)
* "Blue Ballad"s - (1995) - With John Hicks (piano), George Mraz (bass) and Billy Drammond (drums)
* "Live in New York" (2001 reunion concert with Roswell Rudd)
* "Hungarian bebop" (2002) with Mihály Dresch Quartet (BMC Records)

References

External links

* [http://www.archieshepp.com Official homepage]
* [http://homepage.mac.com/drcmunro/ArchieShepp/ Site featuring a comprehensive discography and reviews of many Shepp recordings]