Flight 17

Description

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London.

Horace Tapscotts 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. doesnt have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesnt ring bells like Monk or Tyner, theres a reason why: in an industry dominated by record labels, a band that doesnt record doesnt count. And the Pan-Afrikan Peoples Arkestra didnt record for nearly twenty years. But recording success was never their concern they werent 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. The album commences with the magnificent title track. It is effectively in three parts. It begins with unaccompanied pianos. Then the ensemble embark on a dense, circular and mechanical movement, a platform for horns and pianos to swoop and dive. We return to Earth with a beautiful solitary flute. The second track, the piano-centric, Breeze is different to Flight 17 in intensity and also brevity but it is quietly as daring as the title track. It concludes with a moving lush wash from the full Arkestra, which sound almost like strings only more substantial. These first two tracks take full advantage of the texture of the unusual mix of the various instruments. Next though, its a significant change with Horacio, which is an exuberant Latin infused jingle. Its unlike anything else on the album. I like to think it was named after the conductors Cuban alter-ego! Clarisse gracefully switches between slow blues and bop and is bookended with a grand vaguely East Asian theme. The busy bass line introduces Maui. As with the previous track, it moves between a number of contrasting melody lines and rhythms but theres still space for a tuneful sax solo.

This is a must-have album. I think the first two tracks on their own make this release essential. Kevin Ward/UK Vibe/Boomkat

Personnel:

Horace Tapscott Piano, Conductor / Jesse Sharps Soprano, Tenor, Bamboo Flute, Bandleader / Linda Hill Piano / Adele Sebastian Vocal, Flute / Lester Robertson Trombone / David Bryant Bass / Everett Brown Jr. Drums / Herbert Callies Alto Clarinet / James Andrews Tenor, Bass Clarinet / Michael Session Alto / Kafi Larry Roberts Flute, Soprano / Archie Johnson Trombone / Red Callendar Tuba, Bass / William Madison Percussion, Drums / Louis Spears Cello, Bass / Kamonta Lawrence Polk Bass.

Produced by Tom Albach & Horace Tapscott

Recorded Los Angeles 1978