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Jazz - Verschenen op 1 januari 1963 | Impulse!

Hi-Res Onderscheidingen The Qobuz Ideal Discography - 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 - Verschenen op 13 november 2020 | Sunnyside

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Jazz - Verschenen op 1 januari 1963 | Impulse!

Hi-Res Onderscheidingen 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 - Verschenen op 22 mei 2009 | Columbia - Legacy

Onderscheidingen The Qobuz Ideal Discography
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Jazz - Verschenen op 20 september 1994 | Rhino Atlantic

Hi-Res Onderscheidingen Hi-Res Audio
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Jazz - Verschenen op 5 februari 2001 | Rhino Atlantic

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Jazz - Verschenen op 10 augustus 1993 | Rhino Atlantic

Hi-Res Onderscheidingen Hi-Res Audio
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Jazz - Verschenen op 20 september 1994 | Rhino Atlantic

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Jazz - Verschenen op 30 december 1988 | ENJA RECORDS Matthias Winckelmann

Onderscheidingen Qobuz Referentie
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Jazz - Verschenen op 19 april 2005 | Rhino Atlantic

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Jazz - Verschenen op 1 december 1954 | Bethlehem Records

Hi-Res Booklet Onderscheidingen 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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Bebop - Verschenen op 14 september 1959 | Columbia - Legacy

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Jazz - Verschenen op 11 juni 2021 | Rhino Atlantic

Fascinating snapshots of musical evolution, live jazz albums capture improvisation as it happens. Famed as a "battle of the saxes," this set by the inimitable composer/bassist/bandleader Charles Mingus and his working sextet was originally released as a single disc, containing only the two long jams on the Duke Ellington standards, "Perdido" and "C Jam Blues" that closed the show. The reasons why the opening four tracks of that January 19, 1974 concert—"Peggy's Blue Skylight," "Celia" "Fables of Faubus" and "Big Alice"—were left unreleased until now remain unknown. Most likely it was the fear that a double LP would never sell. (But one with a pair of 20-minute tracks would?) The four songs (and spoken introduction) that were the first half of the concert have now been restored and are a welcome addition to the Mingus canon. Always a magnet for great talent because of his prolific composing and expansive artistic vision, the bassist here leads his spry working sextet of Don Pullen (piano), George Adams (tenor saxophone), Jon Faddis (trumpet), Hamiet Bluiett (baritone saxophone) and Dannie Richmond (drums). Those robust instrumental voices are reinforced in the two Ellington numbers by Charles McPherson (alto saxophone), John Handy (alto & tenor saxophone) and the ever-amazing Rahsaan Roland Kirk (on tenor saxophone and a straight alto sax he called stritch). Despite the age of the original tapes, the ringing, uncomplicated sound here makes Carnegie Hall's famous acoustics vividly audible. As live recordings go, the uncredited mix engineer did a fabulous job of balancing all the horns while never allowing Pullen's piano nor Mingus' bass to slide entirely into the background. The new remastering has brought out a brighter, more dynamic sonic image. The Mingus compositions heard in the first half are all classic examples of his swing and bebop-influenced devotion to melody counterbalanced by a rhythmic vitality that's unique in jazz. In opener "Peggy's Blue Skylight," each member glides through their solos with great elan. In "Celia" a tune named for the bassist's wife at the time, cacophony unravels into bravura passages with an expansive big band feel. Pianist Pullen is the star of "Fables of Faubus." Closing what was the original first set, Pullen's "Big Alice" is a funky, joyous, almost Second Line romp with Adams, Bluiett and Faddis all chipping in raucous solos. The much-ballyhooed sax fray on the pair of Ellington standards is a Fourth of July explosion of horn madness, playful and serious, squonking and legato, highlighted again by marvelous energetic solos by Kirk that at one point sound like an oncoming locomotive. Still not as essential as many of his studio albums, the story of this concert is now at least rightly told from the beginning instead of the end. © Robert Baird/Qobuz
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Jazz - Verschenen op 1 maart 1960 | Rhino Atlantic

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Jazz - Verschenen op 1 januari 1964 | Verve Reissues

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Jazz - Verschenen op 1 januari 1963 | Verve Reissues

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Pop - Verschenen op 18 oktober 1999 | Columbia

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Jazz - Verschenen op 20 november 2019 | RevOla

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Jazz - Verschenen op 1 januari 1995 | Impulse!

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Bebop - Verschenen op 18 mei 2007 | RCA - Legacy