Wednesday, January 23, 2019

Archie Shepp And The Full Moon Ensemble - 1971 - Live In Antibes

Archie Shepp And The Full Moon Ensemble
Live In Antibes

Live In Antibes - Volume 1 (Actuel 38)

101. The Early Bird - Part 1
102. The Early Bird - Part 2

Live In Antibes - Volume 2 (Actuel 39)

201. Huru - Part 1
202. Huru - Part 2

Bass – Beb Guérin
Drums – Claude Delcloo
Flugelhorn, Voice – Alan Shorter
Guitar – Joseph Dujean
Tenor Saxophone, Piano, Vocals – Archie Shepp
Trombone, Shenai, Piano – Clifford Thornton

Recorded live at Antibes - Juan les Pins jazz festival, July 18, 1970 [CD1] and July 20, 1970 [CD2]

Like many saxophonists and jazz musicians in general, Archie Shepp moved to New York City in 1959 in search of becoming a professional musician. Things moved slowly, but by 1965 he had performed with pianist Cecil Taylor and had made the acquaintance of several musicians in the burgeoning free jazz or "new thing" cadre. Most importantly was his relationship with the great saxophonist John Coltrane who recommended him for Impulse Records. Shepp recorded for about a decade with Impulse, but also for other labels like BYG/Actuel which released this concert featuring Shepp on tenor saxophone, piano and vocals, Clifford Thornton on trumpet and piano, Alan Shorter on flugelhorn, Joseph Dejean on guitar, Beb Guerin on bass and Claude Delcloo on drums. The album is taken from two concerts at the French jazz festival in 1970 with "The Early Bird: Parts 1 and 2" on the first disc and then "Huru: Parts 1 and 2" on the second disc. The music is very wide open and seems use piano as its anchor, with either Shepp or Thornton laying down massive slabs of dark keyboards that lock in with the deeply percussive bass and drums to give the music a haunting and hypnotic effect. Shepp takes a lengthy saxophone solo on "Huru: Part One" where he ranges from deep guttural moans to high energy squalls and howls. "The Early Bird" he incorporates vocals and shouts from his composition "Mama Rose" into the overall fabric of the performance. This is a very interesting and freewheeling set of music. It is a fine example of the way that jazz had evolved in the early 1970's. Incorporating elements of African music as well as the past and present in jazz, it makes for compelling listening.

A seminal live set from tenorist Archie Shepp – and some of his freest, least-structured material ever! Shepp's still a righteous force here on his horn, but there also seems to be equal emphasis on the contributions of all members of the group – woven together in a really rich tapestry of sound, but with less of the structuring righteous concepts of some of Archie's other work – especially his sides for Impulse. Shepp had really been experiencing some new freedoms on the French scene of the late 60s – even more so than in the US avant outfield – and you can definitely hear him taking flight here, with a like-minded group of players 

Full Moon Ensemble Featuring Claude Delcloo - 1970 - Crowded With Loneliness

Full Moon Ensemble Featuring Claude Delcloo
Crowded With Loneliness

01. Tribute To Bob Kaufman
a. 43 W. 87th Street Sur Mémoires De Guerre
b. Samba Miaou Sur Renvoyez-Les
c. Samba Miaou Sur Benediction
d. 43 W. 87th Street Sur Peut-Être"
02. 101 W. 85th Street
03. King Kong

Bass – Ron Miller
Drums – Claude Delcloo
Electric Piano – Martine Tourreil
Flute, Alto Saxophone, Tenor Saxophone, Bass Clarinet – Jeff Sicard
Guitar – Joseph Déjean
Soprano Saxophone, Tenor Saxophone, Flute – Gérard Coppéré
Voice, Percussion – Sarah

A French Free Jazz Band, the Full Moon Ensemble was born at the end of the 60s under the leadership of the versatile and ubiquitous Claude Delcloo. Delcloo was an eminent drummer who played and recorded with Jazz legends such as Archie Shepp, Arthur Jones, Jacques Coursil and Burton Greene. He was also a smart producer and the co-founder of the Actuel/BYG and AKT labels which helped release timeless underground, progressive Jazz records by some of the most creative young talents living in France back then (Grachan Moncur III, Art Ensemble Of Chicago, Sun Ra Arkestra, Moving Gelatine Plates, Rhesus O, Cane & Able, etc.).

At the end of 1970, Delcloo's ongoing project, the Full Moon Ensemble, recorded Crowded With Loneliness - their only album - with guitar player Joseph Dejean (also a member of the Cohelmec Ensemble), horn players Jeff Sicard and Gerard Copper (who later also played with Dharma Quintet and Machi Oul), pianist Martine Tourreil, American bass player Ron Miller and the enigmatic singer Sarah Touati who disappeared early on. They were also later credited on one of Archie Shepp's live LPs released on the BYG label (volumes 38 and 39) but only their rhythm section was featured. The Full Moon Ensemble was a free-minded collective project that sounded more like Pharoah Sanders and the early 70s American politically-engaged Spiritual Jazz scene than any other French Jazz bands of that time (even though Francois Tusques, Jef Gilson and a few others did remarkable works during those years). Most of the lyrics as well as the album title were inspired by US poet Bob Kaufman; this helped give these recording sessions such a unique style between Jazz poetry, vocal Free Jazz or protest Jazz. Sadly, after a few gigs in France and confronted with a lack of commercial success, most of the Full Moon Ensemble members left for other bands and projects, leaving behind Crowded With Loneliness as a testament of their collective work.

Up until now, this album has been one of the French holy grail records in Spiritual Jazz collectors circles, mainly owed to the track Samba Miaou which appeared in several compilations over the last 20 years but never in its entire form. Superfly Records are now proud to make this record available again in its original format for the first time in more than 30 years.

This time for sure, we are in deep deep. The proof is that a disc of the caliber of this Full Moon Ensemble was still not chronicled on the canvas until now, and that we are still waiting for the reissue in due form *. There must be some compilation that has put his finger on it (randomly, Sexopolis ), but discovering this major work in its entirety was until now only the prerogative of very rare lucky ... And much rejoice You dear readers, for the democratization of selfless sharing comes to your aid here and now. 
There are many ways to know aboutInternet (and digging ). If you have heard of it, the easiest way is to type this name into a good search engine: you can quickly find the two live recordings of Archie Shepp published by BYG at the beginning of 1971 (volumes 38 and 39). and have been reissued lately. Two actors of this memorable performance appear on the line-up of the album that we present here: Joseph Déjean and Claude Delcloo . The name of this last is the other way to note the existence of this disc, because Delcloo was anything but a stranger, having founded the mythical magazine Actuelin 1968, which was then devoted exclusively to jazz rather than to "counter-cultures" in general, as was the case in the following versions. In addition, Clau-cloo (sorry ...) already had an album to his credit, also at BYG : Africanasia , duet with Arthur Jones (volume 6), not to mention various featurings alongside Burton Greene or Jacques Coursil (still on BYG ), among others.
The least common denominator for all these projects is obviously the free jazz , which at the time was experiencing a rather incredible boom in France, given the straightforward inaccessibility of this musical register. To counter this handicap, free jazz had two major assets : its freshness (barely 10 years of existence), and of course its freedom of tone , which was exercised naturally since the events of 1968 ... the perfect opportunity for many young talents to make their voices heard in a country where the careers of musicians did not really exist, and where jazz was still an import product. And as filiation with the blueswas going to disappear in the free , this "new trick" became all the easier to appropriate by artists who had, for the most part, no blood relation with Africa. 
To build from scratch a training of free jazz in France at the twilight of the 1960s was certainly very ambitious; History has shown how ephemeral they were ( Red Noise , Soul Sound , Dharma ...). It seems especially that they did not know how to emancipate themselves completely from the sponsorship of the American artists who had served them as an example if not of sparring-partner, and the Full Moon Ensembledid not escape this observation. Four decades later, we still have this unique album, " Crowded with Loneliness ", an infinitely precious testimony of a glorious and exalted period.
After temporarily joining the BYG label to replace Fernand Boruso, Claude Delcloo finally produced Full Moon Ensemble's album on the CBS label . No doubt the musicians were better paid, at least in a more legible way because ... contractual. Delcloo mainly obtains a distribution agreement , via the powerful CBS network , of works recorded on its own AKT label . This one, created to promote the artists engaged in new directions, is however not limited to the jazz, unlike its competitor Futura Parisactive at the same time. The support of a major seems to be an asset in a record market then in full swing, since only nascent groups, therefore without prior notoriety, will be produced: Moving Gelatin Plates , Rhesus O , Cane & Able ... The business will unfortunately folded less than two years later after twenty publications, albums and singles together, despite some pressing abroad (Holland, England).
Some have recovered, such as Michel Portal (who at that time had already ten years of professional career behind him), or precisely Cane & Able , which will deliver several excellent LPs in the 1970s under the name Ice and Lafayette Afro -Rock Band . The AKT experiment having received a lot of positive reviews, Claude Delcloowill attempt again, at the end of 1975, to launch a series of "discovery" albums via the CBS label : the Marginal collection dedicated to the " marginal music " of which we spoke for the post of Umbañ and WAC . The case will last about a year, the time of a compilation and a half-dozen albums ... In France, the avant-garde and originality have decidedly hard life.
Recorded in late 1970, Full Moon Ensemble's album is the first release of the AKT label . It has an almost luxurious gatefold cover , a format that will not be seen on other AKT releases , and the interior design is reminiscent of some American LPs , including giving the astrological curriculum of the protagonists! In addition to the guitarist Joseph Déjean seen in Cohelmec Ensemble and the drummer-leader Claude Delcloo , the group includes Jeff Sicard and Gerard Coppéré (the latter will integrate the collective Dharmashortly thereafter) to the wind instruments, the American Ron Miller  on the double bass, Martine Tourreil on the piano and the enigmatic singer Sarah , who could be Nicole Aubiat of the Black Oak troupe .
The album owes its title " Crowded with Loneliness " to the eponymous collection of poems published by the American writer Bob Kaufman around 1965. Four of these texts are recited, translated into French, on the long track " Tribute to Bob Kaufman " constituting the first face: " War Memories ", " Return Them ", " Blessing " and " Maybe ". The members of the group improvise in turn to support or respond to the verbal flight of Sarah , whose sincere and complete delivery, which usually takes the form of a vindictive declamation , frank only by his sometimes breathless prosody . Perhaps the non-French listeners will refute this opinion ... It would have been interesting to hear these poems in their original version. Musically , strictly speaking , the first movement " 43 W. 87th Street " is primarily supported by the piano (Rhodes) the wind instruments ( Coppéré on the soprano saxophone then  Sicard on the bass clarinet ) link the choruses once the poem's statement is finished. It is then " Samba Meow ", which has samba only the name, the bassbringing a semblance of groove , where  Coppere and Sicard begin a dialogue on the tenor saxophone between the following two poems, the piano and the guitar making the transition with the third and last movement which is in fact a cover of the first " 43 W. 87th Street where the soprano intervenes between Sarah's last two recitations .
The second side starts with the song " 101 W. 85th Street ", whose name is also inspired by Kaufman . The voice being absent, this time it is possible to identify a theme, arranged for the two saxophones ( Sicard on the viola , Coppéré au tenor ), before the piano , the guitar and then again the saxophones do not speak, in a controlled " free for all " register. Delcloo and his drums end up manifesting before the truncated recovery of the theme. Finally, the last piece "King Kong "sees the guitar Déjean  successively face the two saxophones , a tempo more removed than previous pieces, and skillfully punctuated by percussion distilled by Sarah and Delcloo . The low of Miller , rather quiet until now introduces The exhibition and the revival of the (very short) theme 
It is difficult to feel that you understand everything after having gone through this piece of choice in its entirety, and the listeners who would like to take advantage of it to discover the genre will certainly be baffled. Density printingdoes not fade over replay, the low times being rather rare compared to the total duration. The term " Together " is essential to describe this training, through the coherence of the combined speech of the young talents that compose it. One thinks  Pharoah Sanders  and other messengers of the Coltrane legacy, but also  Keith Tippett ,  Art Ensemble of Chicago , or Herbie Hancock and his band Mwandishi period Warner Bros . And as Delcloo rightly writes in the cover notes, "this group bears comparison with most of those on the other side of the Atlantic," global feeling moves away from the free to tend towards spiritual jazz of pure African-American inspiration.
Disappeared as soon as the disc released, the Full Moon Ensemble did not have time to leave a real imprint in the memories, because of the weak commercial potential of such a work as the dispersion of its musicians in other projects all as promising as punctual. This album deserves to be rediscovered without waiting, especially that it is soon the full moon ... 
(from Hanimex3000)

When Free Jazz meets the Beat generation in a great Spiritual Jazz session recorded in 1969, performed by the Full Moon Ensemble, and featuring the avant-garde drummer Claude Delcloo. Best known as the group of Archie Shepp, during his live performance at Juan Les Pins Jazz Festival in 1970, Full moon Ensemble was formed by Joseph Déjean & Claude Delcloo, the main composers for the group. Claude Delcloo is also known as the founder of BYG Records & Actuel magazine, champion of counterculture in the late sixties in France. Deeply influenced by John Coltrane & Pharoah Sanders's compositions, the collective plays progressive jazz associated to some protest music based on esoteric poetry from american poet Bob Kaufman. 

Machi Oul - 1976 - Quetzalcoatl

Machi Oul

01. Bolerito
02. Leyendas De Nahuelbuta Part One
03. Leyendas De Nahuelbuta Part Two
04. Quetzalcoatl

Bass – Francois Mechali
Francois Mechali, bass
Jean-Louis Mechali, drums
Anna-Maria Villaroel, percussion
Claudio Bertoni, percussion
Keno Speller, percussion
Patricio Villarroel, tablas
Manuel Villarroel, piano
Gérard Coppéré, reeds
Hugh Levick, reeds
Jean Querlier, reeds
Jef Sicard, reeds
Alphonse Leboucher, trombone
Josef Traindl, trombone
Alain Brunet, trumpet

Recorded at PALM Studio, Paris, on 10-14 December 1975.

Very rare and fantastic spriritual french free jazz LP on Palm ( label run by Jef Gilson).