Charles Mingus 24 Bit Vinyl Lot

  • 14.06.2016, 14:10,
  • Music

Charles Mingus 24 Bit Vinyl Pack

Class: Jazz
Styles: Avant-Garde Jazz, Involved Bop, Jazz Instrument
Author: Vinyl
Codec: FLAC
Bit Rates: 2,800 — 3,100 kbps
Bits Per Test: 24
Test Scold: 96,000 Hz

Oh Yeah
Nostalgia in Times Square
Let My Children Discover Music
Mingus Mingus Mingus Mingus Mingus
The Dusky Saint and the Transgressor Lady
Mingus Ah Um (180g)

Irascible, nagging, bullying, and probably a einstein, Charles Mingus cut himself a uniquely iconoclastic walkway through jazz in the halfway point of the 20th century, creating a legacy that became uniformly lauded only after he was no longer around to bug people. As a bassist, he knew few peers, blessed with a substantial sound colour and pulsating discrimination of pulse, able of elevating the contrivance into the fa stroke of a stripe. But had he been just a queue gamester, few would know his name today. Rather, he was the greatest bass-playing leader/composer jazz has ever known, one who always kept his ears and fingers on the pulsing, temper, spontaneity, and brutal meaningful power of jazz.

Intensely overzealous yet often lusty in declaration, simultaneously anarchistic and far downwards established, Mingus« music took elements from everything he had skilled -- from fact and blues through New Orleans jazz, swinging, bop, Latin music, new-fashioned influential music, even the jazz avant-garde. His benchmark was Duke Ellington, but Mingus took the sonic and harmonies of Ellingtonia much further, throwing in abrasive dissonances and unexpected changes in meter and speed, introducing tremendously comforting accelerations that generated a drive of their own. While his primeval works were written out in a influential style, by the mid-»50s, he had worked out a new way of getting his unconventional visions across, dictating the parts to his musicians while allowing lavishness of live for the players' own lilting personalities and ideas. He was also a terrific pianist, fully able of fetching that r in a assemblage -- which he did in his 1961-62 bands, hiring another bassist to advise in for him.

Along the way, Mingus made a lot of enemies, causing sometimes mean confrontations on and off the bandstand. A big man physically, he used his largeness as a weapon of intimidation, and he was not above hesitant concerts to ruminate on out apathetic audiences or errant sidemen, even cashiering a musician now and then on the site. At one of his concerts in Philadelphia -- and a to a insensible confrere at that -- he up against it up the appear by slamming the piano lid down, nearly smashing his pianist«s hands, and then punched trombonist Jimmy Knepper in the maw. For a fierce palpable story of the emotions that seethed within him, cease out the photo on the deal with of Duke Ellington»s Ready Money Jungle; Mingus looks as if he is about to put an end to someone. But he could also be a manageable amazon as his moods permitted, and that characteristic can be felt in some of his music.

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