Album of the Week: September 7-13

[couw]

Archie Shepp - Four For Trane (click here to buy)

upon popular request

[ralphie_boy]

Oh Yeah, this is a fine choice! Not my favorite Shepp, but there's some fine playing and arrangements here never-the-less. I'll have more to say after spinnin' it again over the weekend.

[John Tapscott]

Yes, a very good choice, though I haven't heard it for a while. I have it on vinyl, and will have to retrieve it from the basement this evening. Really looking forward to giving it a spin or two.

[DrJ]

GREAT choice, and I already have it too! Looking forward to another spin...

[John B]

I've been meaning to give this disc a spin recently. This will give me an excuse to do so and to participate in AOTW for the first time. B)

[Guest youmustbe]

I adore this record. Had Archie autograph it as well as a photo from the session. My favorite is still the Savoy one side, THAT"S Arche Shepp and how he sounded live at the time and why I was his number one fan. Heard him so many different places....

But this record was just so hip in 64. I remember I had a noisy downstairs neighbor, and when I would go out for the day, I would put the speakers face down on the floor, put this record on loud, and move the spindle back so it would keep playing continously. She never complained, must have dug it.

[couw]

Hey whatsup? Is everybody still too overwhelmed by this music to post about it?

I gave the disk a couple of spins over the last couple of days and one thing is for sure: this one SWINGS!

Somehow I have mentally categorised Shepp as a "way out there" player, which he definitely is not, as this album illustrates. But the notion is stuck there in the depths of my grey matter twists and it needs another listen to an album like this one for me to be convinced (again) of the beauty of Shepp's tone and the innate swing his lines.

Comparing the arrangements for this album with the originals as played by Trane himself (Syeeda's Song Flute, Mr. Syms, Cousin Mary, and Naima) is a very interesting excercise. The four horn frontline (tp, tb, as, ts) tickles that little extra something out of them that makes the performance entirely original and a great tribute to Trane the writer and Guru.

Did I mention this one SWINGS!? It does.

For some interesting comments on Shepp's in print impulse! output, surf to:

http://www.vervemusicgroup.com/list.aspx?lid=76 and click on the album covers.

[king ubu]

I have not yet found the time to listen to it (I mean, sit down and listen, and nothing going on besides), so I though: how about doing that right now, and post some, while listening...

I always loved the opening trach (Syeeda's Song Flute) - that strangely harmonized sort of fanfare, going into the Trane song after some very interesting passages, and hell (I mean: HELL), yeah (or say: HELL YEAH) it swings like mad when that child-song-theme starts! Reggie Workman and Charles Moffett create a very solid, dense yet never overwhelmingly so, background for the horns to improvise on top. When Rudd enters behind Shepp, they sort of doulbe up the interplay of Workman/Moffett. They really are toghether (check out my favorite Shepp albums for further proof of this: Live In San Francisco and Mama Too Tight)

Mr Syms: It strikes me that all four Coltrane compositions are from his Atlantic records - nothing of more recent origin. And yes, those wonderful Atlantic albums had many good compositions (besides the obvious Naima or Giant Steps). Alan Shorter seems to have his own thing together. Not too close to Don Cherry, some tonality of his own, which I quite like. Bitter? The interlude is beautiful, as is the arrangement of the tune itself. Shepp really had a beautiful sound (I think he himself though that the Enja record Steam, a great live album presenting him with just bass and drums, was the one which captured his sound closest to how it was)

On Cousin Mary (http://www.organissimo.org/forum/index.php...opic=26&hl=mary)Workman and Moffett set up a very swinging pulse, over which Shepp enters with a beautiful, exploring solo. Then we hear another probing solo from Alan Shorter. He seems a little more conventional to these ears, this time, but still good. Then we hear Tchicai, playing mostly in the lower register, starting from where Shepp left. He has a very nice sound on his alto sax, too - actually, all four horns seem to have their own beautiful sound together, and this, coupled with a hard swinging and pulsating rhythm section, creates the mix and mould in which this album succeeds.

The trombone theme-statement of Naima strangely enough reminds me of Mingus' composition "Eclipse", however Rudd does a good job, and Shepp enters with another beautiful probing solo, which fits the mood of the tune perfectly. He is beautifully backed by Rudd again, with help from the others, this time, but Rudd's is the voice one hears most clearly. Workman plays very good here, too, creating the backdrop and melodical counterpoint here, while Moffett is rather restricted for once. Shepp's solo-cadenza is stunning, it shows he was a real master of his horn. Then comes a hard swinging section, presented by Shepp, with some counterpoint by Rudd, who starts his solo with some deceptively simple phrases and builds from there. His sound really strikes me as one of the most vocal and human trombone sounds ever. He clearly came away from the J.J. style. The slow passage then is marvellous again.

The Shepp tune that closes the album, Rufus (Swung, his Face at Last to the Wind, Then His Neck Snapped) brings back to mind that this music stems from the mid sixties. It has a sort of nervous feel to it, propelling drums, loping bass-lines, sort of a stop-and-go thing. Here we get to hear a stunning solo from John Tchicai, then some more from Shepp. They make for a very interesting match. Then we get some Workman, running, stopping, strumming - sometimes reminds me of the flamenco-things Jimmy Garrison would do with Trane. A short solo by Moffett leads back into the theme. Question: anybody knows more about the title? Is there some link between title and actual music?

And, hey, looking at the last picture of the CD booklet (the one of Charles Moffett) - does he really not play a Hi-hat on the whole album? I only saw that photo when I came to listen to Rufus, so I did not specifically mind this up to Rufus, on which, it seems, he really has no Hi-hat!

Hope this is worth any,

ubu

[DrJ]

This is one of those albums that strikes me as one where all the planets were in alignment and it was predestined it would be a classic. It just all sounds so fresh and full of new things yet also so logical and tidy...and you know that much of it happened on the spur of the moment and WASN'T worked out ahead so it's all the more amazing. An analogy in this realm would be OUT TO LUNCH, another recording of very demanding and, for the time, avant garde music that sounds so "right" that it seems like probably that music has been floating around the universe since the beginning of time and Dolphy and Co. just "channelled" it on that fortuitious session. Same with FOUR FOR TRANE.

More specifically: I love Shepp's tone here, and Rudd's, and the way they blend (one of THE great pairings in jazz history IMHO), and Moffett's unconventional pulse.

I enjoy all of Shepp's Impulse! recordings immensely, they're full of daring, interesting, challenging, and enjoyable music. But I have to say, when viewed from a 2003 vantage point, except for FOUR FOR TRANE, they all sport significant flaws - sometimes it's self-indulgance, with track lengths longer than the improvisations really merit, sometimes it's overdone political stridency, sometimes it's ill-conceived arrangements. None of this is to say that these aren't all fascinating creations, and in fact on some days the flaws make them even more interesting and unsettling (not a bad thing), but still the flaws have to be acknowledged.

FOUR FOR TRANE has none. I seldom find Shepp's more extended length pieces hold my interest the whole way through...to me, it sounded like he was catering to the tastes of the day (or maybe pleasing his sidemen) with these long tracks, when his true inclination was to be much more concise. With his widely-acknowledged roots in Ben Webster and swing as much as in bop and Coltrane, this proclivity wouldn't surprise me one bit. So on FOUR FOR TRANE, the greatest virtue missing from much of his other work of the time, IMHO, is judicious editing, not in the literal, tape-splicing sense but in the mental sense.

So for me, I don't think Shepp ever approached the level of artistry that he attained with this first Impulse! recording. FOUR FOR TRANE deserves to be included near the top of the list of truly essential jazz recordings of the 1960s.

[JSngry]

Shepp's own playing quickly went on to mature from that heard here - he lost the blatant patterns that occasionally mar, in my opinion, otherwise beautiful solos here, and his tone, already razor sharp, soon became a deadly weapon, with a focus and power not QUITE heard here. But as an ALBUM, this one has a cohesion, it walks the line between "free" and "structured" in a way that is all but irresistable to my ears, feet, mind, and innards. I REALLY like the arrangements too. Totally fresh, at times even radical, "rehearings" of material that was still pretty fresh at the time. Perhaps a "spiritual grandfather" to the lovely reworkings of Ellington tunes that Julius Hemphill did for the WSQ?

Not necessarily my "favorite" Shepp Impulse! album (that would STILL be FOR LOSERS), but one that, like Tony says, has not a wasted moment on it, and one that I'll gladly listen to any time.

[John Tapscott]

I've really been digging this record. There is much to enjoy here. The arrangements, Rudd, and the swinging rhythm section are just some of the highlights for me.

But I have significant reservations about Shepp's playing. I think he plays quite well here when he's interacting with the other horns, but on his own, especially when the tempo is up a bit, he sounds flat-footed, at least to me. On Syeeda's for example, the rhythm section is swinging very nicely, but Archie never quite gets in the groove, or catches the wave, so to speak. A lot of his phrases don't get "fit". It's not quite as noticeable when the tempo is down, but it's still there all the same, and for me, mars his work. Yes, I know it's an avant-garde technique to play against the rhythm section, but to do it all the time indicates to me a player who has some time problems. (Ornette sometimes played against the time, but he could also swing like crazy with the rhythm section. ) And I'm not sure Archie ever really solved this problem, not even on the later Sheep records I've heard. To put it simply, Archie doesn't swing enough for me. Also, I can't say I find his tone particulary pleasant, though I will grant that some people really dig it.

Part of my problem, perhaps, is that I've been listening a lot to "Mode for Joe". Joe Hen is such a masterful tenor player, that when I hear Archie's playing, I honestly feel I'm listening to someone who's not in the same league.

[jazzbo]

Gosh it's been too long since I listened to this session (while eating a can of Wolf Brand chile.)

It's one of my favorites of his Impulses! because I think he WORKED on this puppy long and hard in preparation. It was the big shot you know! And there was some love in there too for Trane who had been a support and a catalyst and guide in some ways to the music and the biz.

The arrangements are what does this for me. Excellent stuff, striding the free and the less so very well, putting the soloists right where they need to be.

And they also serve as a vehicle for Shepp's "acting." I view Shepp as an actor for the most part, especially during these Impulse! years. . . . He puts drama, maybe melodrama, into the material with his sound, his notes, his swaggering swing (or lack of swing, I'll certainly grant you that John). It took me a while to come to grips with his style in this period, and finally the "acting" idea allowed me to wrap my mind around it. . . .

This is among my very favorite Shepps. I'm going to have to grab it and put it in the player again soon! Come on FRIDAY!

[Jazzdog]

I have been holding back comment on this one for a while. I haven't heard this in years. I had a review of it up on a website for years and years until I stopped maintaining it. My writings at the time were still a bit naive, as I was trying to capture a mood comparable to the music itself, and that is difficult to do. The music is advanced, even for 2003. Any player nowadays interpreting the same material would play it straight (Hi, Kenny Garrett) and not as forward in thought or conception. I love the idea that he stuck to the Atlantic period here, and strayed from the scenarios Trane would have set the pieces during this time period. Trane was somewhere quite different. It's not his own music, but it's more interesting than many of the pieces that he would have written for his own recordings.

[JohnS]

What can I say about this album. It's one of the two most influential albums in my jazz listening. When it first came out (was it really nearly 40 years ago, seems hard to believe) I'd never heard anything quite like it, I was hooked, and it opened a lot of new listening avenues.

Right from the off it's great, the band sound, the interplay, the backing riffs, the solos, Shorters fragilty and Tchicai's fractured sound, Shepp's gruffness and abandon, Rudd was/is a revelation and stunning work from Worman and Moffett. A group of real originals imo. When I play the disc now I know what's coming next but it still comes as a surprise. An exceptional recording.

I went on to seek out the records by the NY Contemporay 5, Marion Brown, and the NY Art Quartet, Shepp and Dixon on Savoy. Some of these are almost as good and are still among the most cherished records in my collection.

[kh1958]

How does he sound today? He's playing at Birdland in a couple of weeks, and I expect to be in New York one night of his engagement. Should I go?

[.:.impossible]

Context.

Never having heard Archie Shepp and going straight to a performance like "Live in San Francisco" or "On This Night" may be a bit of a shock, whereas an album like "Four For Trane," to those familiar with the four John Coltrane compositions read here may be a much easier transition. Archie's approach, or method, if we are going with Lon's acting metaphor, can be recognized here as adaptation.

The stage set that is Syeeda's Song Flute or Cousin Mary is presented here in a very respectful and personal manner. Heads remain intact and augmented by three additional horn, the chording is very effectively deleted, and the rhythm section strips down to an intense driving presence that continues to build all the way up until the only original composition on the album. Archie Shepp’s conception, when heard in a familiar setting, is better understood. I think this is what makes this disc such a classic and powerful recording.

My favorite moment is during John Tchicai's solo during Cousin Mary. Reggie Workman pulls out some LARGE double stops as Charles Moffet progressively intensifies the alto's interjection. If the mood strikes you to listen to this disc again, definitely definitely definitely take note of this moment. In fact, Workman and Moffet are so incredibly constant on this album. They deserve as much credit as the four hornmen do for their creativity.

I am a fan of Shepp's impulse! work, though most of the political message passes me by. His tone and sense of rhythm are his own. We can compare them to their predecessors and we can identify those influenced by him, but we cannot mistake the sound of Mr. Archie Shepp. On this album, I here a decent amount of Shepp influence in Tchicai's solos.

A great, swinging, 'avant-garde' recording session. Also probably the best place to start listening to Archie Shepp in the 1960s.

[SEK]

I've enjoyed this marvelous record since around 1970. It was my bridge into Shepp's other '60s sessions on Impulse, as well as his previous work with Tchicai in the New York Contemporary 5 and on Shepp's Fontana recording, "Rufus" (then onto Tchicai's own recordings many years later after I felt that Shepp had lost it).

This is the Archie Shepp record that I play the most these days, when I'm not in a "Magic of Juju" mood. As the cover and title indicates, this is a tribute to Trane, but Shepp is definitely doing the talking. His distinctive fonky solos seem more restrained and structured than in his previous work, or what was often the case in the Impulse albums that followed. Likewise, the ensemble sound is a relatively more contained template for the kinds of rangy backing that Shepp would employ in future Impulse sessions. Perhaps that's what makes this album more consistently satisfying for me than "Fire Music", for example (though I love that record too). It's a stone classic of great beauty that still moves me.

[JohnS]

How does he sound today? He's playing at Birdland in a couple of weeks, and I expect to be in New York one night of his engagement. Should I go?

You will probably be disappointed. Shepp sounds a lot different these days, nothing like the adventurous playing of the 60s. I've only seen him three times since his heyday, twice very lacklustre but a more recent duo date with Andrew Hill was much more interesting-perhaps he needed Hill to spur him on. kh, I think I'd give him a miss.

[kh1958]

His competition that night is a very interesting looking Charles Tolliver Big Band at Jazz Standard.

[paul secor]

This was my introduction to Archie Shepp. When I was in college, there was an AM radio dj who did weekend shows and played a lot of organ-tenor records (to my ears at that time, some of the most cliched records of that genre - hope that remark doesn't earn me a Greg-like fate). He took pride in never playing a John Coltrane record, since he didn't like Coltrane. However, for some reason, he used to play "Cousin Mary", from Four for Trane. I enjoyed that and ended up buying the record. I still have my old mono LP.

Some thoughts and favorite moments:

Shepp and Rudd's comments and urgings behind each other's solos on "Syeeda's Song Flute" - the beginning of a musical partnership which continues to this day.

The moans with which Rudd begins his solo on "Syeeda's".

John Tchicai's solos on "Rufus" and especially on "Cousin Mary". To my ears, he's never surpassed them.

"Niema" ("Naima") - As the then Leroi Jones points out in the liners, this indeed sounds much like a piece of Ellingtonia; and Ellingtonia played by musicians influenced by Ellington and playing something new, not just copying him. As jazzdog commented, young musicians playing this music today would probably play it straight, and perhaps not add anything much to it. Imagine the Lincoln Center Jazz Ensemble (or whatever they call themselves) playing these four Trane tunes. I have, and I'm falling asleep already. Wonderful arrangement by Roswell and a fine playing of the arrangement by all.

Shepp's playing on "Niema" - I could never understand why so many people only heard anger and ugliness in his playing. I have to believe that they were reading politics and not listening to music.

Alan Shorter - I've always liked his playing. He doesn't have all that much facility, but, to me, he could play enough to make the feeling come across. I like his solo on "Cousin Mary" best.

Charles Moffett was one of my favorite drummers. No. One of my favorite musicians. In the past, I thought he sounded a bit uncomfortable on this date, but with my listenings over the past few days I've changed my mind. He sounds fine on "Syeeda's", for example. He still sounds a little out of sync to me on parts of "Rufus".

Archie Shepp and Roswell Rudd - two of my favorite musicians. 'Nuff said.

As I said, this was my introduction to Archie Shepp's music. Four for Trane sounded good to me then. It sounds better now.

Another fine choice for Album of the Week.

[Gary]

theres not a lot i can add to the thread (but i voted for it so i thought i would be rude not to).

John S recommended this CD to me when i was asking him about Archie Shepp . My initial thought was ' why would anybody want an album of Trane covers? Is there anything to add'. little did i know . I was really surprised at how wrong i was .

I have enjoyed it from the first listen , what initially grabbed me was Shepp's unique sound.

What grabbed me after listening a few times this week is Charles Moffets drumming - fantastic.

I learned 2 valuable lessons from this CD.

1 ) Dont be put off by preconcieved ideas about jazz musicians covering other works by my favourite artists . ( I even bought David Murrays Trane tribute since).

2) You never go wrong with a recommendation from John S.

[DrJ]

I just listened to this one again during a lengthy car ride...and my recollections have only been confirmed. A true gem.

I would add only that it's a real pleasure to get to hear Alan Shorter, although he is a bit inconsistent here...he sounds superb on "Mr. Syms" (his solo, with that worrying of a little phrase until it's been explored THOROUGHLY, reminds me more than a little of brother Wayne's soloing in years much later than this vintage), but frankly a little lost on "Cousin Mary" (although that might just be my take on it, as Paul noted above really digging his playing here - it's minimalist, but doesn't sound like that's by design to me, but I could be wrong - I'll listen again).

In fact, the solo section in "Mr. Syms" as a whole is just breathtaking, with each soloist's work leading into the next player's section seamlessly, sometimes with long overlapping stretches of big-eared simultaneous improv.

I'd also add that Roswell Rudd's humor and tonal and other stylistic ties with pre-bop jazz were absolutely crucial to the full success of this music. His work serves as the focal point in many ways, driving home the idea that this was ultimately jazz as much in the tradition as "outside" of it, far moreso than so much of the jazz of the time which only looked back as far as Gillespie and Parker (and sometimes not even that far back) for inspiration.

Edited September 17, 2003 by DrJ

[Chuck Nessa]

I always considered this an extension of the NYC5 recordings. Rudy did a fabulous job from the console and the typical Impulse! presentation was fine. I find Archie needed to be "engaged" in a project to play well, and unfortunately later in his career this did not seem to happen. This is a wonderful record for reasons beyond Archie's attentive playing. A classic.

A dandy AOTW. Thanks.

[JohnS]

Asmall addition, I pulled out my old mono Impulse album yesterday. Sounds far better than the current cd.

This is a great music, if it's not in your collection get it.

[clifford_thornton]

Maybe I've said this elsewhere, but the take of "Rufus" on the Impulse LP sounds very West Coast-y to my ears. In the interaction between Shepp and Tchicai I'm almost getting a Marsh-Konitz vibe, strangely enough. Prefer this version to the one on the Fontana LP (though I love that Fontana!).