ARCHIE SHEPP — Mama Rose In Concert (review)

ARCHIE SHEPP — Mama Rose In Concert album cover Boxset / Compilation · 2000 · Avant-Garde Jazz Buy this album from MMA partners
3/5 ·
snobb
Starting from mid-70s free jazz sax legend Archie Shepp's recordings are often a mixed bag, some best albums come from his duets. Since he never recorded solo sax album, such minimalist musicianship often gives Shepp a possibility to improvise freely inside of duet partner's build frame.

American hard-bop pianist Horace Parlan recorded series of albums in 1960-1961 for Blue Note, than disappeared for decade returning back on scene in 1974 in Denmark, his new home till now.Residing in Copenhagen (and later - in small Danish sea-side town)he became domestic SteepleChase label home artist,releasing albums regularly and playing with local and guest jazz musicians.

His first duet with Shepp ("Goin' Home")was recorded in 1977 on SteepleChase, with second one ("Trouble In Mind")released on same label few years later. Both albums contain quite unusual (for Shepp) but partially successful return back to roots - gospel and blues.Two decades later Shepp and Parlan returned back to studio and recorded "Reunion" for German L&R Music which didn't sound as good idea though. After comeback album's release they played some gigs around Europe one of which (in France) was recorded by tiny local label 52 Rue Est and released in form of two separate vinyls. In 2000 all concert's material was released as double CD (close to two hours music with minimal editing) on West Wind.

It's great possibility to listen all concert in its continuity,the listener can almost feel like he was there.Sound quality is only average, but main problem is a sound mix - all recording sounds as it was made from public with sax and mic on front of the mix and piano somewhere far backstage. Shepp is in great form, from very first minutes he plays free explosive sax solos,speak with public (in English and French)and sings a lot.Besides of two Shepp's originals all material is standards (Ellington, Monk ,etc)or blues but Shepp plays them at his best deconstruction tradition - you can easily recognize any tune but no-one of them sounded like that before. At the same time Parlan accompany (it's difficult to speak about interplay, he sounds as accompanying piano player only) at safest and most conservative manner ever, only on rare solos his piano sounds a bit more vital.

It even looks that such poor quality (under other conditions)sound mix has its positive side here - quite easily one can imagine this album as non-existing Shepp's solo sax recording removing useless silent piano on background. Shepp's saved the show for sure demonstrating one of his best playing for years but result in whole is only acceptable, no way great.Really interesting release for Shepp's fans,not recommended for others though.
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