Uploaded June 2021 | Updated September 2026, 1 day ago
Archie Shepp/Mal Waldron Quartet
June, 22, 1977
Domicile, Munich, Germany
Archie Shepp - soprano saxophone
Mal Waldron - piano
Cameron Brown - bass
Charlie Persip - drums
During the summers of 1976 and 1977, Archie Shepp toured Europe in a quartet with Mal Waldron on piano (sometimes replaced by Siegfried Kessler or Dave Burrell), Cameron Brown on bass and Charlie Persip on drums. The group’s setlist included a number of compositions by Shepp’s former sideman, trombonist Grachan Moncur, III, a number of which Shepp would record over the course of his career. Moncur’s ‘Love and Hate’, first recorded on Jackie McLean’s ‘Destination...Out!’ in 1963, was never officially recorded by Shepp, and rarely heard outside its original setting: this recording thus offers a rare opportunity to hear an alternate version.
Photograph: Shepp performing at Jazzhus Montmartre, Copenhagen, Denmark, 1977. (Photo by Jan Persson/Getty Image).
For more details on the performances of the Shepp/Waldron group, see lpogost.neocities.org/archieshepp.htm.
Archie Shepp/Mal Waldron Quartet
June, 22, 1977
Domicile, Munich, Germany
Archie Shepp - soprano saxophone
Mal Waldron - piano
Cameron Brown - bass
Charlie Persip - drums
During the summers of 1976 and 1977, Archie Shepp toured Europe in a quartet with Mal Waldron on piano (sometimes replaced by Siegfried Kessler or Dave Burrell), Cameron Brown on bass and Charlie Persip on drums. The group’s setlist included a number of compositions by Shepp’s former sideman, trombonist Grachan Moncur, III, a number of which Shepp would record over the course of his career. Moncur’s ‘Love and Hate’, first recorded on Jackie McLean’s ‘Destination...Out!’ in 1963, was never officially recorded by Shepp, and rarely heard outside its original setting: this recording thus offers a rare opportunity to hear an alternate version.
Photograph: Shepp performing at Jazzhus Montmartre, Copenhagen, Denmark, 1977. (Photo by Jan Persson/Getty Image).
For more details on the performances of the Shepp/Waldron group, see lpogost.neocities.org/archieshepp.htm.


![Priaulx Rainier - The Bee Oracles (1969)
Priaulx Rainier - The Bee Oracles (1969)
James Oxley (tenor)
Members of the Psappha Ensemble:
Conrad Marshall - flute
Rachael Clegg - oboe
Richard Casey - harpsichord
Benedict Holland - violin
Jennifer Langridge Cello
Mark Heron (conductor)
“Rainier and [Elisabeth] Lutyens admired one another, perhaps for features they shared: independence and determination. In other respects they were unalike. Rainier worked slowly, producing a new work, usually on a small scale, every couple of years. Perhaps because of that, her music seems intensively woven; it is certainly intensively pulsed.
She wrote this work, setting a poem by Edith Sitwell, ‘The Bee-Keeper’, for Peter Pears to sing at the 1969 Aldeburgh Festival. Her choice of accompanying ensemble – flute and oboe, violin and cello, harpsichord – may have been influenced by a work by a composer she admired, Elliott Carter’s Sonata for four of these instruments (omitting the violin). But equally, the bright sharpness of high woodwinds, the glide of the strings and the buzz of the harpsichord, to mention only some of the qualities she draws from this group, all fit the gilded magic of the poem and of its apian subject.
Introducing a broadcast of the work, Rainier mentioned how it is based on two parallel rhythms, one in the vocal line, the other created by the instruments in short patterns to counter or support the vocal rhythm, these producing ‘a honeycomb of sound’. Within that honeycomb, the moments of congruity, when instrumental attacks are lined up to coincide with a sung note, have a particular force.
At the same time, Rainier takes up the poem’s invitation to generate a broad-gauge honeycomb, of formal segments, with each of the different elements given its own variation, the whole interleaved with variations on the opening ‘Incantation’. The result, at once intricate chamber composition and spell, is fascinating, and yet this work, too, has not been heard since 1983.”
(Paul Griffiths, 2013) Priaulx Rainier - The Bee Oracles (1969)](https://i.ytimg.com/vi/Cw416v_cmhk/mqdefault.jpg)
![Alan Bush - Violin Concerto (1948)
Alan Bush – Violin Concerto (1948)
Mareen Smith (violin)
BBC Northern Symphony Orchestra
Bernard Keefe (conductor)
BBC Radio broadcast.
“This concerto is dedicated to Max Rostel, who gave the first performance on the 25th August, 1949. Alan Bush said that the violin is intended to represent the individual; the orchestra, world society. And the work, as it unfolds, suggest the individual struggles and his [sic] final absorption into society for the common good. The concerto is in three movements, which follow each other without a break.” (BBC Broadcast commentary)
“[In ‘The Crisis of Modern Music’ (1946),] Bush explained his so- called ‘thematic’ method of composition which involved the thematic significance of every note written. The common ground this shares with Schonberg’s twelve-note method hardly needs stressing. Indeed, some sort of serial melodic structure can be discerned in many of Bush’s works, for example the Violin Concerto of 1948, which employs twelve-note themes, although in a tonal context. In the slow movement of this work the order of the note series is adhered to quite strictly, but common chords are clearly implied. Thus near the beginning of the slow movement a succession of third, G minor, E major, C minor, B minor and F major appear. There are other, similar common chord forms, a variant of one of which occurs in the first movement in a fanfare-like sequence (D major, B flat minor, E minor and A flat major triads). This sequence is then extensively developed. Such writing is typical of the composer’s movement away from his earlier ‘central-European’ style.
Though the music is continuous, the work is cast in three sections. A short, cadenza-like introduction from the solo violin precedes an interestingly scored orchestral section of pulsating energy. The soloist joins in this exciting episode before introducing an appealing, lyrical section more serious in mood. Over sustained chords the violin soars upwards in a series of rhapsodic passages before a return is made to the pulsating rhythms of the first main section. The slow movement [beginning c. 12:07] is remarkable for the soloist’s cadenza-like passages with orchestral interjections and accompanying figures of subtle significance. The third movement, which imaginatively emerges from the slow movement [beginning c. 21:05], uses material related to the first movement. The music in the finale thus provides a formally satisfying link with what has gone before, helping to create an overall design that is typical of the composer’s musical thinking. (Peter Lamb)
Image: Bust of Alan Bush by Ian Walters Alan Bush - Violin Concerto (1948)](https://i.ytimg.com/vi/D7LZ5CgWOrE/mqdefault.jpg)






