Langue disponible : anglaisSaxophonist, composer, playwright, and educator Archie Shepp has been regarded at various times uin his long jazz career, a musical firebrand and cultural radical, a soulful throwback to the jazz tradition, and contemplative veteran explorer and a global jazz statesman. He was viewed during the '60s as perhaps the most articulate and intense member of the free jazz generation, willing to speak on records such as Fire Music, The Way Ahead and Juju in unsparing, explicit fashion about social injustice and the anger he felt. His tenor sax solos were searing, harsh, and unrelenting, played with a vivid intensity. But in the mid-'70s, albums such as Body and Soul and On Green Dolphin Street employed a fatback/swing-based R&B approach evoking Duke Ellington and Ben Webster, and in the '80s on recordings such as Mama Rose, he mixed straight bebop, ballads, and blues displaying little of the fury and fire from his earlier days. Throughout the 1990s, Shepp recoreded with a slew of bands for many labels, toured,and taught. His highlights inthe late 20th and early 21st century included Blue Ballads, Gemini, and 2011's Wolman with Joachim Kuhn. Shepp was born in Florida but raised in Philadelphia. He studied piano, clarinet, and alto saxophone during elementary and high school, before focusing on tenor saxophone. He still occasionally plays soprano saxophone and piano. He studied dramatic literature at Goddard College from 1955 to 1959 and earned his bachelors degree. He played alto sax in dance bands and sought theatrical work in New York. But after Shepp switched to tenor, he worked with Cecil Taylor, co-led groups with Bill Dixon and played in the New York Contemporary Five with Don Cherry and John Tchicai. He led his own bands into the mid-'60s with Roswell Rudd, Bobby Hutcherson, Beaver Harris, and Grachan Moncur III. His Impulse albums included poetry readings and quotes from James Baldwin and Malcolm X. Shepp's releases sought to paint an aural picture of African-American life, and included compositions based on incidents like Attica or folk sayings. He also produced plays in New York, among them The Communist in 1965 and Lady Day: A Musical Tragedy in 1972 with trumpeter/composer Cal Massey. But starting in the late '60s, the rhetoric was toned down and the anger began to disappear from Shepp's albums. He substituted a more celebratory, and at times reflective attitude. Shepp turned to academia in the late '60s, teaching at SUNY in Buffalo, then the University of Massachusetts. He was named an associate professor there in 1978. Shepp toured and recorded extensively in Europe during the '80s, cutting some fine albums with Horace Parlan, Niels-Henning Ørsted Pedersen, and Jasper van't Hof. Shepp continued to tour and record throughout the '90s and '00s. Moving from provocative free-jazz icon in his youth to elder jazz journeyman in his latter years, Shepp has appeared on a variety of labels over the years including Impulse, Byg, Arista/Freedom, Phonogram, Steeplechase, Denon, Enja, EPM, and Soul Note.
© Ron Wynn & Scott Yanow /TiVo
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Archie Shepp dans le magazine
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