Customer Reviews

Attica Blues (Dig)

5 star:		(9)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I purchased this album after having acquainted myself with albums like "Mama's Too Tight", "Live at Newport", and "The Way Ahead". Needless to say, it is quite unlike any of those albums. This was a bit troubling at first, but I must admit that once I considered this album as an entity unto itself, it amazed me! This is a very likeable and listenable album, and features the same sort of emotional purity of expression found on Shepp's more "out" blowing albums: That purity is captured here through plaintive lyricism, a heady mix of musical styles, and quaint use of dramatic effects (screamed choruses in the opening track, naively pure child singing on the closer, snippets of poetry and yearning lyrics). This album is fascinating in that it succeeds (imho) at capturing the emotional openness and purity of the free jazz idiom, by totally different means. Appraised on it's own terms, this is a classic.

This 1972 recording for Verve is one of Archie Shepp's more theatrical releases, a statement as to what is in store by itself. Shepp, fuming over the recent Attica Prison atrocity of his day, unleashes horns from hell on this wrathful musical venture. And Shepp is not alone, accompanied by a humungous assembly of musicians helping to knit the intricate musical web that is this album. "Attica Blues" is definitely a group mission and was not intended to just revolve around Shepp's horn, one of the hallmarks of much of Shepp's body of work.

Funky soul driven numbers make up this brave work, along with some rather poetic vocal arrangements and atypical timing in parts. This album is a distinctively Archie Shepp project, from the kicking off of the fervent title track on through to the peculiar vocals appearing on the final track, "Quiet Down". "Attica Blues" was both a cultural and artistic snapshot of the racial woes of the early 1970s, a beautiful reminder of a painful past. Buy this one today!

This is one of the best albums of its time. The title track is one of the most ferocious funk tunes ever recorded. Shepp gathers many and varied friends to help him out on a statement of musical affirmation which alternates from jazz-funk grooves to something a little freer and experimental. The striking cover and the cool photos-- original notes are here in their entirety-- add to an already wholesome package. A powerful LP.

Attica Blues, is a protest record against the Attica prison riots. It begins with a political slogan on a funky groove: "If I had the chance to make one decision, every man could walk this earth on equal condition".
The texts in the pieces that follow, the main body of this record, are awkward and poetic.
The last song "quiet dawn" stands out. It is sung by the young 9-10 years old daughter of one of the band members. This tune sounds similar to Tiny Grimes' "That old black magic".
Highly recommended

As mentioned in some reviews, due to the quiet nature of some tracks, it may take a couple of listens to get into this one's melodies.
This said, it is immensely rewarding to overcome that minor quibble, because one will crave to "rewind" Attica Blues beginning many times, not knowing exactly why he or she is feeling so complacent to the exquisite "plaintive lyricism" (to quote another reviewer) that pervades through it.
This is not jazz per se, the first track being quite funky actually, let's it belongs to the afro-beat genre, probably, with a hint of Free. I would suggest to play this soulful record from start to finish when one is into one of these meandering moods, e.g. before writing a love letter or at any moment you feel the need for really making your point across.
Now, if only current social and political statements had an once of that intensity and verve...

This is a beautiful album that has a variety of influences in Duke Ellington, Sly and the Family Stone, John Coltrane, and early 70's R&B, but ultimately, this has album has its own unique voice.

It opens up with the fiery funk-and-gospel number, "Attica Blues", written in response to the Attica Prison massacre, which contains a plea for equality repeated over and over again ("If I had the chance to make the decision, every man could walk this earth in equal condition...") with some great blues soloing by Shepp and others (too far in the back of the mix for my taste) over a funk rhythm section with big band horns. It is an explosive and effective opener.

Next up is "Steam", which I remember reading somewhere is a tribute to Shepp's 15-year old cousin whom was murdered. It is a very strange track. It is simultaneously beautiful and hard-edged. It sounds like Kenny G on acid with a good dose of soulfulness and talent added in. While strings often = commercialism, on this song this is not the case at all. The strings' intonation is off (probably on purpose), the vocals quickly contrast between harshness and smoothness, and Shepp's soprano goes between hard-edged, lyrical, and somewhere between the two, creating a song that quickly transitions from mournful, to ugly, to soaring. It's power lies mostly in its contrasts, which are all effective.

After the two parts of "Steam", with a little beat poetry about Charlie Parker over some cool Jimmy Garrison bass playing in between the two parts, is the great "Blues for Brother George Jackson", a tribute to the "Soledad Brother". This has some more great soloing that stretches the blues, especially by Shepp.

Next there's the most traditionally beautiful track on the album, "Ballad for a Child", which has some very nice R&B/Gospel styled vocals, some touching lyrics about the miracle of human life, and tasteful playing by the instrumentalists.

After that is what I consider to be the highlight of the album, "Good Bye Sweet Pops", a tribute to the recently deceased Louis Armstrong. On it is beautiful and anguished playing by Shepp on soprano and a gorgeous and rich arrangement by the song's composer, the underrated composer, arranger, and trumpeter Cal Massey.

The last song is another Massey contribution, "Quiet Dawn". It is another piece where questionable intonation is used to create an edge to an otherwise beautiful song in the form of the lead vocals by Massey's young daughter. It also features a little flugelhorn by the under-recorded Massey as he doubles the melody with his daughter, possibly to help lead her through the song.

Like the times it was recorded in, this album is ugly, confused, and beautiful. It is a great example of the idea that out of great tragedy is born great art.

Attica Blues, tenor saxophonist Archie Shepp's response to the Attica uprising, is a much more sobering retort than one would expect from the 1960's firebrand. Vocal ballads dominate the album, which also includes early 70's funk, rock rhythms and some big band swing. It is a peculiarly mixed album, especially in it's vocal performances. The opening title track is one of the most furious free form funk cuts one could imagine, sort of a cross between Sly and the Family Stone and late period Coltrane. Whereas the final cut "Quiet Dawn" is a tentative ballad sung by a child. Spoken word interludes between tracks unfortunately date the album even further than the instrumentation does. Uneven in spots, but not without a certain strange charm; Attica Blues is one of Shepp's most diverse albums.

God bless Archie Shepp. The dude will just try anything, wear any hat: black millitent, professor, bluesman, and avant-garde firebrand. I even have a Zappa live album where Archie jams with Uncle Frank and his band.

And the money shot is, Archie does everything he tries very well, and never better than on the deep soul music of Attica Blues.

Attica was made in 1972, right after the infamous prison riot, and is second to none in its painting of race relations during the era: the only compitition it really has is Gene McDanials Headless Heros of the appocolypse. These albums make What's Going On look like a Bobby Goldsboro record.

Politics aside, this record is out and out flaming R&B--not a wiff of pure jazz in the house. It has roaring backup singers, and James Jermont on bass. Many tracks are Sly Stone-like materal, others proudly eccho Curtis Mayfield; funk up there with the greats. Shepp is, of course, primarly known as a jazz musician, but his grasp of black music is so comprehensive and wide ranging, he makes everything he does genuine, and essential. Add that to the uncompromising politics of the album and the potency is just amazing. An illistration: Listen to a George Thorgood album and then go back to Muddy Waters, and you'll understand the differance between immatation and essence. Archie creates essence in most of his work, and there is no better example then Attica Blues

i knew of mr. shepp, but had never heard anything by him before... this was strickly an impulse purchase... (a habit i indulge waaay too often!)...

but this is proly one of the top ten purchases i've bought over the past 3 years. i'ma pretty eclectic kinda cat... it can be strange, off the beaten track, 'weird' even... just as long as it feels 'honest' and 'human' to me, then i can get into it...
...and this is surprisingly both honest and human.
bits and pieces of clunky poetry... about 5% cheesiness... 100& flawlessly mortal.
how tight is this? the writer for the last cut 'quiet dawn' lets his ten year daughter do the vocals... her voice is shakey, you cant make out everything she is saying, it startles you at first... but after about ten seconds, with brotha shepp's artistry strongly backing lilsista up, this becomes the best most brilliant track on the album!

if anyone knows where i can find lil waheeda (well, maybe not so little now!), let me know... that sista got a dozen roses waitin to be delivered to her!

Classic....Wonderful vocals....This is a must have for Archie Shepp fans!!!!.....