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HI-RES8,99 Fr.
CD6,49 Fr.

Jazz - Erschienen am 1. Januar 1963 | Impulse!

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung - Hi-Res Audio
The Black Saint and the Sinner Lady is one of the greatest achievements in orchestration by any composer in jazz history. Charles Mingus consciously designed the six-part ballet as his magnum opus, and -- implied in his famous inclusion of liner notes by his psychologist -- it's as much an examination of his own tortured psyche as it is a conceptual piece about love and struggle. It veers between so many emotions that it defies easy encapsulation; for that matter, it can be difficult just to assimilate in the first place. Yet the work soon reveals itself as a masterpiece of rich, multi-layered texture and swirling tonal colors, manipulated with a painter's attention to detail. There are a few stylistic reference points -- Ellington, the contemporary avant-garde, several flamenco guitar breaks -- but the totality is quite unlike what came before it. Mingus relies heavily on the timbral contrasts between expressively vocal-like muted brass, a rumbling mass of low voices (including tuba and baritone sax), and achingly lyrical upper woodwinds, highlighted by altoist Charlie Mariano. Within that framework, Mingus plays shifting rhythms, moaning dissonances, and multiple lines off one another in the most complex, interlaced fashion he'd ever attempted. Mingus was sometimes pigeonholed as a firebrand, but the personal exorcism of Black Saint deserves the reputation -- one needn't be able to follow the story line to hear the suffering, mourning, frustration, and caged fury pouring out of the music. The 11-piece group rehearsed the original score during a Village Vanguard engagement, where Mingus allowed the players to mold the music further; in the studio, however, his exacting perfectionism made The Black Saint and the Sinner Lady the first jazz album to rely on overdubbing technology. The result is one of the high-water marks for avant-garde jazz in the '60s and arguably Mingus' most brilliant moment. © Steve Huey /TiVo
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HI-RES35,58 Fr.
CD29,58 Fr.

Jazz - Erschienen am 13. November 2020 | Sunnyside

Hi-Res Booklet Auszeichnungen 4F de Télérama
1964 bringt Charles Mingus seine bes- te Band nach Europa, zum Radio-Bremen-Konzert kommen 220 Besucher. Bei „Hope So Eric“, einem 26-minütigen Blues, folgt jedes Solo einer klugen Dramaturgie, Mingus arbeitet ständig mit Verkleinerungen des Ensembles: Quartette, Trios, Duos, unbegleitetes Solo. Die Monoaufnahme lässt nur ahnen, wie die Band im Raum klang, aber Mingus’ kraftvoller Bass dringt immer durch. Nach einer Viertelstunde bläst Eric Dolphy ein fünfminütiges Alt-Solo in oberster „Bird meets Ornette“-Nachfolge; für die Antirassismus-Hymne „Fables Of Faubus“ holt er die Bassklarinette raus. Mit Ellingtons „Sophisticated Lady“ hat Mingus eine aufregende Begegnung unter vier Augen. Jaki Byard schwelgt in Americana und Harlem-Stride, Clifford Jordans Horn stößt spitze Schreie aus. Gegen Ende von „Meditations On Integration“, nur mit Klavier, Flöte und gestrichenem Bass, tun sich weitere Facetten dieser großartigen Band auf. Elf Jahre später ist eine neue Mingus-Band in Bremen. Endlich stereo, Mingus’ Bass hat jetzt einen Pick-up. Ein traumhaftes Intro der Band kündigt „Sue’s Changes“ an, als Don Pullen seine Clusterketten herausschüttelt, kommt richtig Aufwind. George Adams’ Ton auf dem Tenor ist unnachahmlich, Mingus zeigt, welch fabelhafter Begleiter er ist. „For Harry Carney“ gerät funky und soulful. Aus den halbstündigen Suiten sind halb so lange geworden, „Fables Of Faubus“ gerät mit Vokaleinlagen von Mingus und Richmond noch mehr gegen den Strich als 1964. Jack Walraths raue Trompete passt ideal zum schroffen Tenor von Adams, der sich in „Devil Blues“ als brillanter Sänger entpuppt. © Lippegaus, Karl / www.fonoforum.de
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HI-RES25,49 Fr.
CD17,99 Fr.

Jazz - Erschienen am 1. Januar 1963 | Impulse!

Hi-Res Auszeichnungen Hi-Res Audio
The Black Saint and the Sinner Lady is one of the greatest achievements in orchestration by any composer in jazz history. Charles Mingus consciously designed the six-part ballet as his magnum opus, and -- implied in his famous inclusion of liner notes by his psychologist -- it's as much an examination of his own tortured psyche as it is a conceptual piece about love and struggle. It veers between so many emotions that it defies easy encapsulation; for that matter, it can be difficult just to assimilate in the first place. Yet the work soon reveals itself as a masterpiece of rich, multi-layered texture and swirling tonal colors, manipulated with a painter's attention to detail. There are a few stylistic reference points -- Ellington, the contemporary avant-garde, several flamenco guitar breaks -- but the totality is quite unlike what came before it. Mingus relies heavily on the timbral contrasts between expressively vocal-like muted brass, a rumbling mass of low voices (including tuba and baritone sax), and achingly lyrical upper woodwinds, highlighted by altoist Charlie Mariano. Within that framework, Mingus plays shifting rhythms, moaning dissonances, and multiple lines off one another in the most complex, interlaced fashion he'd ever attempted. Mingus was sometimes pigeonholed as a firebrand, but the personal exorcism of Black Saint deserves the reputation -- one needn't be able to follow the story line to hear the suffering, mourning, frustration, and caged fury pouring out of the music. The 11-piece group rehearsed the original score during a Village Vanguard engagement, where Mingus allowed the players to mold the music further; in the studio, however, his exacting perfectionism made The Black Saint and the Sinner Lady the first jazz album to rely on overdubbing technology. The result is one of the high-water marks for avant-garde jazz in the '60s and arguably Mingus' most brilliant moment. © Steve Huey /TiVo
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CD30,99 Fr.

Jazz - Erschienen am 22. Mai 2009 | Columbia - Legacy

Auszeichnungen Qobuz' Schallplattensammlung
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HI-RES24,99 Fr.
CD21,49 Fr.

Jazz - Erschienen am 20. September 1994 | Rhino Atlantic

Hi-Res Auszeichnungen Hi-Res Audio
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HI-RES24,99 Fr.
CD21,49 Fr.

Jazz - Erschienen am 5. Februar 2001 | Rhino Atlantic

Hi-Res Auszeichnungen Hi-Res Audio
Ab
HI-RES24,99 Fr.
CD21,49 Fr.

Jazz - Erschienen am 10. August 1993 | Rhino Atlantic

Hi-Res Auszeichnungen Hi-Res Audio
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HI-RES24,99 Fr.
CD21,49 Fr.

Jazz - Erschienen am 20. September 1994 | Rhino Atlantic

Hi-Res Auszeichnungen Hi-Res Audio
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CD21,59 Fr.

Jazz - Erschienen am 30. Dezember 1988 | ENJA RECORDS Matthias Winckelmann

Auszeichnungen Qobuz Referenz
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HI-RES24,99 Fr.
CD21,49 Fr.

Jazz - Erschienen am 19. April 2005 | Rhino Atlantic

Hi-Res Auszeichnungen Hi-Res Audio
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HI-RES15,99 Fr.
CD12,99 Fr.

Jazz - Erschienen am 1. Dezember 1954 | Bethlehem Records

Hi-Res Booklet Auszeichnungen Hi-Res Audio
Originally released on two 10" records called Jazzical Moods, The Jazz Experiments of Charles Mingus makes its first appearance in CD. These 1954 Period Records sessions include the work of Thad Jones on trumpet and John LaPorta on clarinet and alto sax, combine old and new forms of classical and jazz for a cool jazz sound. Tracks like "Minor Intrusion" and "Thrice Upon a Time" demonstrate the synergy between Mingus and his players, and display his compositional skills. © Heather Phares /TiVo
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HI-RES30,99 Fr.
CD21,99 Fr.

Bebop - Erschienen am 14. September 1959 | Columbia - Legacy

Hi-Res
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CD18,49 Fr.

Jazz - Erschienen am 11. Juni 2021 | Rhino Atlantic

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HI-RES21,49 Fr.
CD18,49 Fr.

Jazz - Erschienen am 1. März 1960 | Rhino Atlantic

Hi-Res
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HI-RES28,99 Fr.
CD20,49 Fr.

Jazz - Erschienen am 1. Januar 1964 | Verve Reissues

Hi-Res
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HI-RES25,49 Fr.
CD17,99 Fr.

Jazz - Erschienen am 1. Januar 1963 | Verve Reissues

Hi-Res
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CD21,99 Fr.

Pop - Erschienen am 18. Oktober 1999 | Columbia

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HI-RES17,99 Fr.
CD11,99 Fr.

Jazz - Erschienen am 20. November 2019 | RevOla

Hi-Res
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CD20,49 Fr.

Jazz - Erschienen am 1. Januar 1995 | Impulse!

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CD21,99 Fr.

Bebop - Erschienen am 18. Mai 2007 | RCA - Legacy