ARCHIE SHEPP.

ARCHIE SHEPP.

THE WAY AHEAD ߞ ARCHIE SHEPP Impulse A-9170 Richard Walls

Damn If I Know (The Stroller), Frankenstein, Fiesta, Sophisticated Lady

Archie Shepp, Tenor Sax; Jimmy Owens, Trumpet; Grachan Moncur III, Trombone; Walter Davis Jr, Piano; Ron Carter, Bass; Beaver Harris, Roy Haynes, Drums. Recorded January 29,1968.

“Damn If I Know” is fine. A slow leisurely blues, nothing bizarre. This is a perfect setting for Shepp’s wail, his blues cry, as was “Mama Too Tight”. It’s like this — the setting may be painfully familiar (Davis’ piano drags it a bit — we’ve heard all this before many, many times) but instead of hearing Lou Donaldson blowing the same old lifeless licks we have Shepp screaming a new song. More violent. His blues are not pretty nor are they soothing. This cut is good for those who want the player to bring it home now and then or always thought Shepp was “faking it” or some shit like that.

“Frankenstein” is Moncur’s weird waltz, recorded before on Jackie McLean’s “One Step Beyond”. Shepp improvises, then is joined by the ensemble playing the melody. As usual, most ofShepp’s statements seem arbitrary in relation to any melodic line. His phrases are fragmented, repeated, distorted, hinted at a third time, incorporated into new phrases, then suddenly gone. The sound of a thought being tortured, dissected, enjoyed.

Perhaps the thoughts that enter your mind when you’re stoned on grass and you’re staring at your shoe, so beautifully complex, giving you feelings of growth, possibilities, life. All about your damn shoe.

Of course, it’s entirely up to you the listener to put it all together. You have the power to see cohesiveness where you will. Perhaps the ambiguity of this approach would bother Leonard Feather, but one of the beautiful things about form is that it can be destroyed. We are released, we return if we wish and so

“Fiesta” starts with some drum rumblings, then a startling screaming entrance by Shepp that is the best single moment for me on the album. He enters singing, already knowing who he is and what he can do. The ensemble theme is interesting and is a logical extension of Shepp’s mode of improvisation. I hear in it a phrase from Monk’s old song “Ask Me Now” and from the theme from “The Pawnbroker” no less, which was written by Quincy Jones. Not a very heavy observation but if the song sounds a little familiar, then that may be why. There’s a subtle exchange between Owens and Shepp amidst the ensembles. You must dig subtle improvisation that is hard to distinguish from the written parts and a lovely togetherness that seems perfectly natural.

“Sophisticated Lady” is a drag for me. I dig the original melody and miss it in Shepp’s rendition. This ruins for me what he’s doing for most of the song. Also this is a ballad and it is my perverted

contention that Shepp is at his best in the group movement thing. His furious phrasing/motion and raspy tone are best supplemented by the most sympathetic response, i.e. motion (Shepp’s) surrounded by motion (the group’s) giving the listener the feeling of being properly devasted. Shepp’s motion in a ballad seems out of context. This is my own personal hang-up so listen for yourself. Listen to the whole record for yourself. Of course.

There is a sameness about the songs on this album which could make boring if you’re not in a reflective (hence receptive) mood. It lacks the orchestral variety of “Fire Music” (a good introduction to Shepp) or the variety of solo personalities found in “Four For Trane” (a monster album!). But it is still excellent for those people whom Archie Shepp has touched. Those within reach.