Recorded in 1972 with a core band of
Leroy Jenkins,
Cornell Dupree (!),
Jimmy Garrison, and
Charles McGhee,
Shepp supplemented these proceedings in much the same way he did with the cast of
Attica Blues, with gospel singers, big bands, quintets, sextets, and chamber orchestras, with guests that included
Harold Mabern on piano,
Bernard "Pretty" Purdie on drums, and
Ron Carter on electric bass! Recorded during a period in which
Shepp was reaching out of the jazz idiom to include all of what he perceived to be "trans-African" music at the time, there is gutbucket R&B here, as well as the sweetly soul gospel of "Rest Enough." The charts' arrangements are a combination of
Ellington's more pastoral moods -- usually expressed in his suites -- and the more darkly complex modal stylings of
George Russell. Unlike some of
Shepp's dates from this period, the vocals do not detract from the mix employed here. This is an urban record that showcases
Shepp's ability, at this time in his career, to literally take on any project, combine as many sources as he was permitted by his financial resources, and come up with something compelling, provocative, and soulful. All extremes are subsumed by the whole: The avant-garde free jazz of the period is covered in the large-ensemble playing, which is covered by the gospel and R&B stylings that are accented by the free jazz players.
Shepp worked with many larger ensembles as a leader, but never did he achieve such a perfect balance as he did on
The Cry of My People. Given that the remastered version -- with excellent liner notes, superb sound, and a gorgeous package -- is being issued during an election year in the United States, its poignancy and urgency couldn't be more timely.~ Thom Jurek