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Archie Shepp - The Magic Of Ju-Ju

6 thoughts on “ Archie Shepp - The Magic Of Ju-Ju

  1. Gajin says:
    Jul 01,  · The title piece, The Magic of Ju-Ju is a tour-de-force. Eighteen plus minutes of Shepp roaring on tenor on top of a drum hurricane. Beaver Harris and Norman Conners play drums, Ed Blackwell plays rhythm logs, Frank Charles plays talking drums, Dennis Charles is on percussion and Reggie Workman is on bass. Shepp's huge tone is out front/5(15).
  2. Goltikasa says:
    release. Protection Each record is protected within its record sleeve by a white vellum anti-dust sleeve. Packaging All items are shipped brand-new and unopened in original packaging. Every record is shipped in original factory-applied shrink wrap and has never been touched by human hands.
  3. Murr says:
    ** also released on Storyville (D) SLP entitled "Archie Shepp And The New York Contemporary Five, Vol. 1". Delmark DL, DS entitled "Archie Shepp In Europe, Vol. 1 - With The New York Contemporary 5". New York Contemporary Five Recorded 'Live' At Jazzhus Montmartre, Vol. 2 .
  4. Kahn says:
    The Magic of Ju-Ju defined Shepp's sound for the next few years: freeform avant-garde saxophone lines coupled with rhythms and cultural concepts from Africa. Shepp was invited to perform in Algiers for the Pan-African Cultural Festival of the Organization for African Unity, along with Dave Burrell, Sunny Murray, and Clifford Thornton.
  5. Shaktizil says:
    The title piece, The Magic of Ju-Ju is a tour-de-force. Eighteen plus minutes of Shepp roaring on tenor on top of a drum hurricane. Beaver Harris and Norman Conners play drums, Ed Blackwell plays rhythm logs, Frank Charles plays talking drums, Dennis Charles is on percussion and Reggie Workman is on bass. Shepp's huge tone is out front.5/5(3).
  6. Dikora says:
    Philadelphia-raised tenor saxophonist Archie Shepp () cut his teeth in Cecil Taylor's quartet () and with Bill Dixon (), and then () joined the New York Contemporary Five, a quintet with Don Cherry on cornet and John Tchicai on alto saxophone that implemented the principles of Ornette Coleman's Free Jazz () on their Consequences (october ), particularly Consequences.

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