Ketchaoua
After appearing with Archie Shepp at the landmark Pan-African Cultural festival in Algiers in 1969, African-American trumpeter-cornetist Clifford Thornton recorded a set of his own compositions in Paris later that year. The result was Ketchaoua, an important political and spiritual as well as musical statement that reflected the inspiration that he took from Islam. Indeed, the title of the album refers to the awe-inspiring mosque in Algiers. Clifford Thorntonâs superb band comprised his compatriots, saxophonists Archie Shepp and Arthur Jones, drummer Sunny Murray, trombonist Grachan Moncur III, pianist Dave Burrell, and bassist Earl Freeman, as well as French bassist Beb GuĂ©rin. Together they brought energy and ingenuity to the leaderâs compositions, which were characterised by vivid atmospheres, exploratory, mysterious sounds and haunting themes. And the song titles conveyed an important social and cultural message. Pieces such as âBrotherhoodâ pointed to the sense of unity and kinship that African-American artists felt with the citizens they encountered on their journey to North Africa and Europe.This newly remastered deluxe edition of Ketchaoua provides an opportunity to hear one of the major entries in Clifford Thorntonâs relatively small yet nonetheless highly impressive discography. It is an album that marks him out as a figure in the avant- garde movement of the late 60s and early 70s who deserves far wider recognition.
Ketchaoua
After appearing with Archie Shepp at the landmark Pan-African Cultural festival in Algiers in 1969, African-American trumpeter-cornetist Clifford Thornton recorded a set of his own compositions in Paris later that year. The result was Ketchaoua, an important political and spiritual as well as musical statement that reflected the inspiration that he took from Islam. Indeed, the title of the album refers to the awe-inspiring mosque in Algiers. Clifford Thorntonâs superb band comprised his compatriots, saxophonists Archie Shepp and Arthur Jones, drummer Sunny Murray, trombonist Grachan Moncur III, pianist Dave Burrell, and bassist Earl Freeman, as well as French bassist Beb GuĂ©rin. Together they brought energy and ingenuity to the leaderâs compositions, which were characterised by vivid atmospheres, exploratory, mysterious sounds and haunting themes. And the song titles conveyed an important social and cultural message. Pieces such as âBrotherhoodâ pointed to the sense of unity and kinship that African-American artists felt with the citizens they encountered on their journey to North Africa and Europe.This newly remastered deluxe edition of Ketchaoua provides an opportunity to hear one of the major entries in Clifford Thorntonâs relatively small yet nonetheless highly impressive discography. It is an album that marks him out as a figure in the avant- garde movement of the late 60s and early 70s who deserves far wider recognition.
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After appearing with Archie Shepp at the landmark Pan-African Cultural festival in Algiers in 1969, African-American trumpeter-cornetist Clifford Thornton recorded a set of his own compositions in Paris later that year. The result was Ketchaoua, an important political and spiritual as well as musical statement that reflected the inspiration that he took from Islam. Indeed, the title of the album refers to the awe-inspiring mosque in Algiers. Clifford Thorntonâs superb band comprised his compatriots, saxophonists Archie Shepp and Arthur Jones, drummer Sunny Murray, trombonist Grachan Moncur III, pianist Dave Burrell, and bassist Earl Freeman, as well as French bassist Beb GuĂ©rin. Together they brought energy and ingenuity to the leaderâs compositions, which were characterised by vivid atmospheres, exploratory, mysterious sounds and haunting themes. And the song titles conveyed an important social and cultural message. Pieces such as âBrotherhoodâ pointed to the sense of unity and kinship that African-American artists felt with the citizens they encountered on their journey to North Africa and Europe.This newly remastered deluxe edition of Ketchaoua provides an opportunity to hear one of the major entries in Clifford Thorntonâs relatively small yet nonetheless highly impressive discography. It is an album that marks him out as a figure in the avant- garde movement of the late 60s and early 70s who deserves far wider recognition.
