Abraxas By 1969 most free jazzers were already looking for new ground, already past Coltrane's death, "the new thing" wasn't being well received anymore even by the supporting minority. It is in the case of free jazz pillar, Archie Shepp, who started to try out electric instruments and groovy rhythms.

Mind you, Archie Shepp on this album doesn't leave his free jazz roots behind completely, but it's clear that this is by far a more concise set of tunes which could appeal to an open-minded group of jazz fans by the late 60s. 'Back Back' and 'Slow Drag' are proof of this, with repetitive keyboard grooves and some catchy brass line, there's extended soloing throughout but these never reach the common climaxes of free jazz.

'Spoo Dee Doo' is another different side of Archie, featuring the great Leon Thomas on vocals; this is a wonderful short tune with guitar and occasional brass.

'New Africa' is a very tense and moody Grachan Moncurr III (trombone) composition, but for the listener's surprise, the band restrains from doing anything really "free", at least anybody accustomed to Coltrane's extensive soloing shouldn't have any problem. As the title suggests, it evokes African music, both in rhythm and in the occasional yodelling, and the result is really good.

Last track is 'Bakai', a Cal Massey cover that John Coltrane played in his debut album back in 1957. Well, it's 1969 now and it's Archie Shepp who's leading the composition. The differences are abysmal, the former being a hard-bop rendition while the latter a way freer and monotonic one.

As a whole, Kwanza shows Shepp in an interesting new direction with some sense of groove and restraining from the dissonancy of his completely free stuff. And although nothing here strikes you as genius, the music has this weird mix of catchy lines and extended soloing, making this a very enjoyable weird jazz record and probably a good entry to Archie’s music.

Sean Trane This Kwanza is a delayed release of 68 and 69-recorded material that saw the light of day some five years later, most likely when Shepp’s recording activities were not so numerous. So we’re facing here a very un-cohesive compilation of five tracks from four different sessions and equally so many (sometimes-vastly) different line-ups. The supposed purpose of the present release was justified by an explanation of African celebration, but it seems mainly invented in order to give this compilation a “travelling impression” (IMHO), but it doesn’t infer with the content or its enjoyment.

The opening Back Back could easily be an RnB piece from the mid-60’s and have an undeniable rock-pop feel, but what to say of Spoo-Pee-Doo with Leon Tomas’ impressive but ultimately-cheesy vocals. Of course much of the interest of this release comes from the New Africa and Bakai tracks (which this very version also found its way on the CD reissue of The Way Ahead), both absolutely awesome and intense tracks, which will most likely remain in your mind a few hours after listening to them. Indeed both tracks are based on an ethnic groove (African and Manouche respectively), and are both slightly hypnotizing, especially the former’s dramatic soloing and Shepp’s improvised tribal incantations. Although not last, but not least either, Slow drag is another impressive track where there remains traces of Shepp’s free-form jazz improvs, but it’s ll very accessible to most.

Despite being a disjointed “album”, this compilation is rather worthwhile (unless you possess the TWA CD reissue), but while worth the detour, I wouldn’t call it essential, especially with Afrika and Bakai available elsewhere, although missing out on Slow Drag would be one. Difficult choice between the present or TWA, though, so I’ll leave it up to you.