Archie Shepp
Four For Trane

Archie Shepp.

Archie Shepp is the voice of an oppressed people, the voice of African American anger.

In '64 Shepp is a musician of Free Jazz; he is one of the future musical heirs of Coltrane; he is a saxophonist who has already outlined the characteristics of his tenor sax tone; he is a skilled arranger and composer in the realm of small piano-less wind ensembles; but, above all, he is proud to be Black.
And it is precisely in this golden year - as I like to call '64 - that he records, for Impulse! "Four For Trane," a tribute to the master.

The musicians chosen by Shepp are among the most passionate and "angry" available. On alto sax is John Tchicai, on trumpet Alan Shorter (brother of the famous saxophonist), on trombone Roswell Rudd, on bass Reggie Workman, and on drums Charles Moffett.

The saxophonist offers a very interesting reworking of four of Coltrane's most famous pieces, of which three come from the album Giant Steps. Fundamental elements of the compositions are the elaborate arrangements and the visceral improvisations of the soloists, supported by regular drumming and the pulsating bass, made freer by the absence of the piano.

From the very first track, "Syeeda's Song Flute," one is impressed by the sound of the ensemble, the best attribute to define it: "Black." One is also impressed by the tone of Shepp's sax, hoarse in all registers but clear in the highest notes; a predominant feature of his phrasing is the vocality.
After the leader's first solo, occasionally accompanied by the trombone, one can admire the musical logic of Rudd's speech, which makes extensive use of long notes. The last is "Workman," who interacts best with Moffett's drums, filling all the musical spaces that the piano usually covers.

The rewriting of "Mr. Syms" presents asymmetric unison phrasing of the two saxophones during the theme, adding to the original theme. This time the first musician called into play is Alan Shorter, supported by Shepp's interventions; the trumpeter uses the harmonic freedom granted to him to build a solo based on dissonant phrasing. Shepp is the second; his solo recalls the blues roots of African American music.

The theme of "Cousin Mary" is perfect for the band's sound and is proposed again, as a counterpoint to the tenor sax solo, once again passionate and hoarse; Shorter follows, taking cues from the other winds' responses. In this piece, however, Tchicai's first solo should be highlighted; his tone first seems uncertain and harmless, but then by roughening the sound and repeating nuclei of crying notes, he manages to describe his sensitivity as a tormented artist.

The penultimate track is perhaps the masterpiece of the record. This reworking of "Naima" is the most interesting ever devised. The arrangement work is also the result of Rudd's creativity. Shepp phrases smoothly on the notes of the other winds until he is left alone; it is in this moment that the saxophonist shows the purest part of his art. Then the piece seems to end, and the listener is surprised by the brief change of mood and speed during the trombone solo.
We return, however, immediately to the ballad atmosphere: this time, the winds act as a harmonic backdrop on which Shepp exposes the theme, using the highest register of the instrument and managing to obtain a very sweet and clear voice.

Finally, there's "Rufus" (Swung, his face at last to the wind, then his neck snapped), a high-speed piece with an asymmetrical theme, followed by Tchicai's equally asymmetrical phrasing. Shepp engages in the daredevil execution of repeated clusters of notes, then gives way to Workman. The reduced ensemble - the brass are missing - repeats the theme again after the fiery exchanges between the two saxophones.

This album is an important document of Shepp's art; from here on, the saxophonist will maintain his way of playing and his ideas, becoming - as he is today - one of the greatest representatives of African American culture.