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Mama Too Tight Import

1 customer review

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£7.61 & FREE Delivery in the UK on orders over £20. Details Only 3 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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Product details

  • Audio CD (23 Mar. 1998)
  • Number of Discs: 1
  • Format: Import
  • Label: Impulse
  • ASIN: B000024SSE
  • Other Editions: Audio CD  |  Vinyl
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 41,826 in Music (See Top 100 in Music)

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By Bob Murray on 31 July 2013
Format: Audio CD Verified Purchase
Archie Shepp became prominent in the mid and late sixties as an avant garde tenor player with strongly political Black Nationalist views. He was very conscious of the history of the music and of the great musicians who had gone before him. He mellowed a little as time passed but even at his most mellow he was never what you would call an easy listen. He is very far from mellow on this disc which, to simplify too much, is an angry tribute to his race and its music. It is difficult music and requires repeated and concentrated listening. Even after that I find it does not give up its musical message as easily as does 'Fire Music' an earlier and similar work.
The band here is an octet, consisting of Tommy Turrentine on trumpet, Grachan Moncur III and Roswell Rudd on trombones, Howard Johnson on tuba, Shepp, Perry Robinson on clarinet, and Charlie Haden and Beaver Harris on bass and drums respectively. Shepp solos quite extensively as do both trombones but in most cases musicians come to the fore to take a prominent part in the ensemble rather than as a solo feature.
Turrentine, a much neglected trumpeter and not somebody you would normally expect to find in a band like this, plays very well. He is used as a sound at the top of the orchestra, and his stark tone and occasional lyricism fit admirably. The two trombones and Johnson are all featured prominently and all play well. Their heavy sounds anchor the orchestra and also give it rhythmic impetus. Perry Robinson is barely audible. Shepp, his tone sounding like a combination of John Coltrane and an angry Ben Webster, erupts from the ensemble from time to time, and plays extremely well. Charlie Haden was, at this time, the ideal bassist for this sort of band, and the lesser known Harris provides some fairly ferocious drumming.
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Most Helpful Customer Reviews on (beta) 6 reviews
11 of 11 people found the following review helpful
a fascinating album 2 Jun. 1999
By A Customer - Published on
Format: Audio CD
archie shepp, like pharoah sanders, came up through the john coltrane experiments. Shepp dove straight into free jazz as this album attests. The side long (on vinyl) opener(the first four tracks listed here) is a collage of colors and sounds, sounding at times like something charles ives might have conceived as an exploration of american folk music, but with a modernist twist. there is always something new to discover with each repeated listening as layer after layer unfolds. the second side opens with some downright funky stuff. 'mama too tight' wiggles its rear all the way through, even though the soloists push the limits of the song form as far as it will go. the bass/drums never lose the beat, though. 'theme for ernie' i think is a tribute to ernie watts, but i'm not sure. whomever it is for, it carries a solid r-n-b base to some out there places. it's a lot of fun, all the way through. The album closes with a churning chant that builds in its intensity, but remains a fascinating sculpture of sound. a really fine album.
7 of 8 people found the following review helpful
Unique and varied recording from Shepp. 30 Mar. 2005
By Michael Stack - Published on
Format: Audio CD
"Mama Too Tight" is an album whose original vinyl sides served as a proper division-- the first side is among the most difficult to digest, but like many of the more complex free jazz works, bears rewards with repeated listens, the second side is much more accessible, moving through moods on the three different tunes. What makes this record difficult is the odd instrumentation-- Shepp blows his tenor, and adds to this clarinet (Perry Robinson), trumpet (Tommy Turrentine), two trombones (Grachan Moncur III and Roswell Rudd), tuba (the mighty Howard Johnson, and a pianoless rhythm section (bassist Charlie Haden and drummer Beaver Harris). This unusual instrumentation is partially responsible for the difficulty in digesting the material on "Mama Too Tight".

In particular, on the first side, "A Portrait of Rober Thompson (as a young man)". While it feels like free improv, there appears to be a highly concrete structure, as Shepp states, restates, and exposes various themes (mostly gospel, march and swing influenced) throughout the piece. But it is tough, because it feels at times like an incoherent mess. Patience is the key to this one-- early on, the more conventionally structured second side will be soothing in comparison. Over time, the piece will come to make sense, but patience and repeated focused listening will be required.

The second side is definitely more conventional, "Mama Too Tight" is a funky blowout, Mingus-like in its voicing and gospel-tinged hard bop styling, with some stunning soloing on the part of all the musicians involved. Like Mingus' gospel-oriented work, this is just a lot of fun, a great great song, and actually is one of the most straightforward pieces on any early Shepp record-- only his solo shows any real signs of the "Fire Music" sound. The ballad, "Theme for Ernie", played passionately by Shepp with brass support voiced in an orchestral fashion, shwocases the leader's ability to invoke mood and emotion through his playing. Shepp's tone is thin and airy and has a plea of pain in it-- this is really among the most beautiful work he's ever done. "Basheer", continuing the thread of more conventional sounds, has a big band does the blues feel to it-- the playing is somewhat more "out" than the previous two, and once again, Shepp just wails away. its a really interesting piece.

Overall, this is a really great album, and probably a good jumping in point for Shepp's work-- it can be a bit difficult at first, but there's a lot of great material here and its well worth the listen.
3 of 3 people found the following review helpful
excellent 29 Nov. 2009
By Bill Your 'Free Form FM Print DJ - Published on
Format: Audio CD
Mama Too Tight begins with Archie Shepp ceremoniously unscrewing your head from your body, an everyday act for this master in the 1960s. Portrait Of Robert Thomson As A Young Man is about as free as Shepp, and jazz, gets. This is in free time, and the whole band plays like Jackson Pollack throwing paint to canvas. It is only at the very end that the track segues to a dixieland march.

But then Archie screws your head back on. The title track, second here, is a blues that could have come from 1930s New Orleans. But with Rosewell Rudds trombone and a fantastic bounce, this is also a piece that would have worked in a lot of 1960s Peter Sellers films.

There are two more tracks on the album that mix the most free styles with some of the most traditional. All four tracks go down in about forty minutes.

A listener would miss the point thinking Mama Too Tight is about Shepp "playing in a wide range of styles" if I may write bad advertising copy. And if I begin to say "but Archie has a style all his own," please come and take my keyboard and demolish it against my skull. I'll never review another album, I promise.

Mama Too Tight is just Shepp doing what he does best, playing jazz. His ace is that he saw all of jazz as one big piece, and worked as such. To him, blues, dixie and free exisited all on the same level.

Back then, this was political and social. A black man discovering all of black music to deal with the black experiance.

Civil rights sit ins and race riots are over. Lester Maddox and George Wallace are dead. But we are still left with Shepps music, the all encompossing jazz hug that it is.

Mama Too Tight shows Shepp got it. He always will.
3 of 3 people found the following review helpful
Theme For Ernie 22 Jan. 2003
By a listener - Published on
Format: Audio CD
sorry 'A Customer - June 2, 1999' but that song was written by Philadelphian Fred Lacey, in memory of NY alto saxophonist Ernest Albert Henry, who died aged 31 on December 29, 1957. This beautiful ballad has been recorded many times by jazz artists, e.g. John Coltrane's version on his February 1958 Soultrane session.

as already mentioned above, there is a lot of demanding music on Mama Too Tight, perhaps not the best Archie Shepp for beginners -- try Four for Trane or Fire Music first. Duke Ellington's "Prelude To A Kiss" is beautifully interpolated during a portion of track 1, though.

Shepp's octet group recorded here is unsurpassed, with Howard Johnson (of Taj Mahal fame) on tuba, trumpeter Tommy Turrentine (Stanley's brother), the dual trombonists Grachan Moncur III and Roswell Rudd (check out his own Impulse album Everywhere, available domestically on the Mixed CD -- one of the greatest free-jazz sessions of all time, including the Haden/Harris rhythm team), clarinetist Perry Robinson and a rock-solid rhythm section of Charlie Haden, bass and Beaver Harris, drums.

Mr. Shepp's own liner notes acknowledge the album to be "at once a tribute to a woman of paramount virtue and [RE: tracks 1, 3, and 4] an eulogy for others. (Ernie Henry, Robert Thompson, and Basheer were three Black artists who passed away at painfully abortive ages.)"
5 of 6 people found the following review helpful
Free but Funky 21 Oct. 2005
By directions - Published on
Format: Audio CD
This is free jazz but real free jazz, not aimless improv. Basically you get classic Coltrane style free jazz combined with Horace Silver style soul jazz. This is jazz that takes chances but is not afraid to swing. During the middle of the first piece, in the midst of a free jazz storm, the band suddenly breaks into King Cotton. This is a statement about the emerging civil rights/black power movement and the origins of jazz without going into arch and obvious statements like Shepp's later Poem for Malcolm. And with an (at least to a person knowledgable about jazz)all star line up including the legendary Grachan Moncur III and Charlie Haden from Ornette Coleman's band what is not to enjoy?
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