|
Search Result for Artist Horace Tapscott
viewing 1 To 8 of 8 items
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
DTRS 016CD
|
"A live recording by Tapscott 'working' Quintet with special guest Dwight Trible. A major addition to Tapscott's catalog. Horace Tapscott (piano), Michael Session (soprano, alto, tenor saxophones), Thurman Green (trombone), Roberto Miranda (double bass), Fritz Wise (drums)."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NS 4146LP
|
"Recorded in October of 1983. Horace Tapscott accompanied by only flute and sax, a sparse and beautiful album containing some of Horace Tapscott's best playing (the Tapscott solos are among his finest on record). Two sidelong tunes. Cut directly from the original master tapes. Tip-on sleeve. Insert with photos of Kafi Roberts (sax) and Aubrey Hart (flute) and a new essay by Mark Weber."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DTRS 011LP
|
Restocked. "Horace Tapscott with the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA - Why Don't You Listen? Live at LACMA, 1998 -- H. Tapscott (pianist, conductor), M. Session (s., a. and t. sax), P. Ranelin (trombone), Alan Hines (double bass), L. Large (double bass), T. Ware (double bass), D. Dean (drums), N. Agindotan (congas), B. Madison (perc.), D. Trible (voc.), The Great Voice of UGMAA"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DTRS 013CD
|
"Previously unissued studio sessions from 1976 with the Arkestra. A major addition to Horace Tapscott's catalog. Horace Tapscott with the Pan Afrikan Peoples Arkestra's Ancestral Echoes: The Covina Sessions, 1976. Personnel: H. Tapscott (piano, conductor), A. Hart, A. Sebastian, j. Sharps, G. Bias, M. Session, F. Abdul-Khaliq, J. Andrews, C. Chandler, A. Delone, S. Smith, L. Robertson, W. C. Williams, R. Callender, L. Hill, D. Bryant, M. McLaurine, R. Simmons, I. Balaka, M. Obligacion, Kamau Daáood."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DTRS 011CD
|
"Horace Tapscott with the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA - Why Don't You Listen? Live at LACMA, 1998 -- H. Tapscott (pianist, conductor), M. Session (s., a. and t. sax), P. Ranelin (trombone), Alan Hines (double bass), L. Large (double bass), T. Ware (double bass), D. Dean (drums), N. Agindotan (congas), B. Madison (perc.), D. Trible (voc.), The Great Voice of UGMAA"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
OTR 010LP
|
2022 restock. Outernational Sounds presents a cornerstone document from the Los Angeles jazz underground, Flight 17 -- the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott. Available on vinyl for the first time in 40 years. The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people. Horace Tapscott's Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. If P.A.P.A. doesn't have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn't ring bells like Monk or Tyner, there's a reason why: in an industry dominated by record labels, a band that doesn't record doesn't count. And the Pan-Afrikan Peoples Arkestra didn't record for nearly twenty years. But recording success was never their concern -- they weren't about that. First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, UGMA got down at the grassroots. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. From the surging avant-gardism of Herbie Baker's title track to the laidback summertime groove of Kamonta Lawrence Polk's "Maui", or Roberto Miranda's up-tempo Latin jam "Horacio", Flight 17 showcased the radical voices of the Arkestra's members. Led out by Tapscott's hard-swinging piano, this is the first flight on wax of the West Coasts' foundational community big band -- energized, hip, and together. Contains two tracks previously only available on the 1997 CD edition: "Coltrane Medley" and "Village Dance", recorded live at the Immanuel United Church of Christ. 180 gram vinyl pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3LP
|
|
OTR 007LP
|
2022 restock. Available on vinyl for the first time in 40 years, Outernational Sounds presents a crucial document from the Los Angeles jazz underground. Live At I.U.C.C. sees the Pan-Afrikan Peoples Arkestra at their most together, stretching out on home turf in 1979, with the legendary Horace Tapscott at the helm. Tapscott is one of the unsung giants of jazz; a gifted composer and arranger, a boldly original pianist, and above all a visionary bandleader, Tapscott's recorded footprint is small, but his legacy continues to vibrate through the Los Angeles music underground. From Freestyle Fellowship to Build An Ark, Kamasi Washington, and Dwight Trible, it all traces back to Tapscott. The pianist was an organizer, and instead of chasing a successful recording career, he wanted to build a community band that would act as 'a cultural safe house for the music.' 'I wanted to say, "This is your music. This is black music, and I want to present a panorama of the whole thing right here"' said Tapscott in the late 1990s. As a culturally radical, communal big band with a visionary approach to American Black music, Tapscott's Pan-Afrikan Peoples Arkestra is second only to the other famous Arkestra, that of Sun Ra. Tapscott founded the group in 1961 as the Underground Musicians Association (UGMA). It changed its name to the Pan African Peoples Arkestra in 1971, and through the seventies the players lived, played, and worked together. Community work and political consciousness were at the heart of the project; for two decades they played in streets, parks, and coffee houses. From 1973 to 1981 their main rehearsal and concert space was the Immanuel United Church of Christ (I.U.C.C.); the Arkestra played every second Sunday, developing their sound and hipping new audiences to their vision. Live At I.U.C.C., recorded in early 1979, was the only live recording the band released. In full flow, and at the height of their powers, the group features original UGMA members Linda Hill, David Bryant, and Alan Hines, alongside a new generation including Jesse Sharps, Sabir Mateen, and Adele Sebastian. Showcasing spiritualized classics from the Arkestra's songbook, including the heavy modal groovers "Desert Fairy Princess" and "Macrame." Live At I.U.C.C. is a rare chance to hear one of the most important, foundational bands in the music. With Tapscott at the piano, this is the rarely-captured sound of the mothership in full flight! Limited, vinyl-only triple LP, 180g pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
OTR 009LP
|
2022 restock. Available on vinyl for the first time in 40 years, Outernational Sounds presents Horace Tapscott's burning, spiritualized 1978 set, The Call. One of the unsung giants of jazz music, the composer, bandleader, arranger, pianist and community activist Tapscott was the undisputed keystone of the grassroots Los Angeles jazz scene. Throughout the 1960s and 1970s, his radical community arts and music formations the UGMA (Underground Musicians Association) and his protean big band, the Pan Afrikan Peoples Arkestra, were at the epicenter of music, culture, and politics in the Los Angeles area. Hundreds of musicians passed through these groups and played their part. Major figures such as Arthur Blythe, Azar Lawrence, Jimmy Woods, John Carter, Bobby Bradford, Sonny Criss, Ndugu Chancler, and dozens of others all paid dues or just got down with Tapscott, not to mention the core Arkestra regulars who have since become celebrated names; Nate Morgan, Jesse Sharps, Adele Sebastian, Dadisi Komolafe, and Gary Bias, to mention only a few. Tapscott and the Arkestra were down on the ground -- playing fundraisers in parks and streets, organizing teach-ins and workshops for young and old, mixing it with radical theater groups, firebrand poets, political radicals, Black separatists, community groups, and churches. As a result of this grassroots community focus and Tapscott's antipathy to the music industry, the Arkestra didn't record for nearly two decades. That only changed when long-time jazz fan Tom Albach started Nimbus Records. The label was initiated specifically in order to document Tapscott and his circle, and the first three records showcased Horace and the Arkestra. The Call was put together from two studio sessions in April 1978, one at Hollywood Sage and Sound, and one at United Western -- the latter session had the addition of a string section, who can be heard on the moody Cal Massey composition "Nakatini Suite" and Jesse Sharp's swinging modal trip, "Peyote Song No. III," with its swirling soprano solo. In keeping with the communal nature of the Arkestra, the other two compositions, "The Call" and "Quagmire Manor at Five A.M." are also by Arkestra members. But at the center of the music is the builder of the Ark, the visionary whose original call to action started a movement whose legacy continues to this day -- Horace Tapscott. Vinyl-only release, 180 gram pressing by Pallas, fully licensed from Nimbus West founder Tom Albach.
|
|
|
|