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Jazz - Publicado el 1 de enero de 1963 | Impulse!

Hi-Res Premios Discoteca Ideal Qobuz - 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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Jazz - Publicado el 13 de noviembre de 2020 | Sunnyside

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Jazz - Publicado el 1 de enero de 1963 | Impulse!

Hi-Res Premios 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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Jazz - Publicado el 22 de mayo de 2009 | Columbia - Legacy

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Jazz - Publicado el 20 de septiembre de 1994 | Rhino Atlantic

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Jazz - Publicado el 5 de febrero de 2001 | Rhino Atlantic

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Jazz - Publicado el 10 de agosto de 1993 | Rhino Atlantic

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Jazz - Publicado el 20 de septiembre de 1994 | Rhino Atlantic

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Jazz - Publicado el 30 de diciembre de 1988 | ENJA RECORDS Matthias Winckelmann

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Jazz - Publicado el 19 de abril de 2005 | Rhino Atlantic

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Jazz - Publicado el 1 de diciembre de 1954 | Bethlehem Records

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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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Be Bop - Publicado el 14 de septiembre de 1959 | Columbia - Legacy

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Jazz - Publicado el 11 de junio de 2021 | Rhino Atlantic

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Jazz - Publicado el 1 de marzo de 1960 | Rhino Atlantic

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Jazz - Publicado el 1 de enero de 1964 | Verve Reissues

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Jazz - Publicado el 1 de enero de 1963 | Verve Reissues

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Pop - Publicado el 18 de octubre de 1999 | Columbia

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Jazz - Publicado el 20 de noviembre de 2019 | RevOla

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Jazz - Publicado el 1 de enero de 1995 | Impulse!

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Be Bop - Publicado el 18 de mayo de 2007 | RCA - Legacy