Pithecanthropus Erectus Charles Mingus Rar

1. Charles Mingus Discography
2. Charles Mingus Pithecanthropus Erectus Rar

Pubblicazione: 1956 Etichetta: Atlantic Records Durata complessiva: 36.39 1. Pithecanthropus Erectus - 00:06 2. A Foggy Day - 10:40 - (George Gershwin, Ira.

Pithecanthropus Erectus Charles Mingus Jazz 1956 Preview SONG TIME Pithecanthropus Erectus. 10:37 PREVIEW A Foggy Day. 7:50 PREVIEW Profile of Jackie. Nov 17, 2018 'Pithecanthropus Erectus' — Charles Mingus Via SoundCloud. By all accounts, including his own, Charles Mingus was a difficult man. Over a four-decade career that tracked and helped.

:: TRACKLIST ::
Disc 1
Strings and Keys
1. What Is This Thing Called Love
2. Darn That Dream
3. Yesterdays
4. Body And Soul
5. Blue Moon
6. Blue Tide
Charles Mingus Octet
7. Miss Bliss

8. Eclipse

8. Eclipse
9. Pink Topsy
10. Blue Tide
Jazzical Moods, Vol. 1
11. Minor Intrusion
12. What Is This Thing Called Love
13. Stormy Weather
14. Abstractions
Jazzical Moods, Vol. 2
15. Thrice Upon A Time
16. Four Hands
17. The Spur Of The Moment/Echonitus
Disc 2
Mingus at the Bohemia
1. Jump Monk
2. Serenade In Blue
3. Percussion Discussion
4. Work Song
5. Septemberly
6. All The Things You C#
The Charles Mingus Quintet + Max Roach
7. A Foggy Day
8. Drums
9. Haitian Fight Song
10. Lady Bird
11. I'll Remember April
12. Love Chant
Disc 3
Jazz Composers Workshop
1. Purple Heart
2. Gregarian Chant
3. Eulogy for Rudy Williams
4. Tea For Two
5. Smog L.A.
6. Level Seven
7. Transeason
8. Rose Geranium
9. Getting Together
Pithecanthropus Erectus
10. Pithecanthropus Erectus
11. A Foggy Day
12. Profile Of Jackie
13. Love Chant
Disc 4
The Clown
1. Haitian Fight Song
2. Blue Cee
3. Reincarnation Of A Lovebird
4. The Clown
Mingus Three
5. Yesterdays
6. Back Home Blues
7. I Can't Get Started
8. Hamp's New Blues
9. Summertime
10. Dizzy Moods
11. Laura
Alto Saxophone – Jackie McLean (tracks: 3-10 to 3-13), John LaPorta (tracks: 1-11 to 1-17, 3-1 to 3-9)
Alto Saxophone, Flute – Eddie Caine (tracks: 1-7 to 1-10)
Alto Saxophone, Tenor Saxophone – Shafi Hadi (tracks: 4-1 to 4-4)
Baritone Saxophone – George Barrow (tracks: 3-1 to 3-9), Teo Macero (tracks: 3-1 to 3-9)
Cello – Jackson Wiley (tracks: 1-7 to 1-17)
Clarinet – John Laporta (tracks: 3-1 to 3-9), Teo Macero (tracks: 1-7 to 1-10)
Conductor – Paul Bley (tracks: 1-7 to 1-10)
Double Bass – Charles Mingus
Drums – Clem De Rosa (tracks: 1-11 to 1-17), Dannie Richmond (tracks: 4-1 to 4-11), Kenny Clarke (tracks: 1-7 to 1-10), Max Roach (tracks: 2-3, 2-7 to 2-12), Rudy Nichols (tracks: 3-1 to 3-9), Willie Jones (tracks: 2-1, 2-2, 2-4 to 2-12, 3-10 to 3-13)
Narrator – Jean Shepherd (2) (tracks: 4-2)

Charles Mingus Discography

Piano – Charles Mingus (tracks: 1-11 to 1-17), Hampton Hawes (tracks: 4-5 to 4-11), John Lewis (2) (tracks: 1-7 to 1-10), Mal Waldron (tracks: 2-1 to 2-12, 3-1 to 3-13), Spaulding Givens (tracks: 1-1 to 1-6), Wade Legge (tracks: 4-1 to 4-4)
Tenor Saxophone – George Barrow (tracks: 2-1 to 2-6, 2-8, 2-11, 3-1 to 3-9), J.R. Monterose (tracks: 3-10 to 3-13), Teo Macero (tracks: 1-7 to 1-17, 3-1 to 3-9)
Trombone – Eddie Bert (tracks: 2-1 to 2-12), Jimmy Knepper (tracks: 4-1 to 4-4), Willie Dennis (tracks: 1-7 to 1-10)
Trumpet – Ernie Royal (tracks: 1-7 to 1-10), Oliver King (tracks: 1-11 to 1-17)

Charles Mingus Pithecanthropus Erectus Rar

Vocals – Janet Thurlow (tracks: 1-7 to 1-10)

Charles MINGUS - Pithecanthropus Erectus 1956
Jazz
One of the great figures in modern jazz, bassist Charles Mingus was the ultimate triple threat: a master of his instrument, a jazz composer of the first rank, and an insightful leader of a series of extraordinary and incendiary bands. Raised in Los Angeles, Mingus was a devotee of Duke Ellington, whose compositional style had an unsurpassed effect on the young composer. As a player, however, Mingus was drawn to his contemporaries, who included Thelonious Monk, Bud Powell, Charlie Parker, and Max Roach (indeed, Roach and Mingus co-owned their own Debut Records during the '50s). Perhaps his greatest contribution was bridging the gap between those two generations: in Mingus's music, one could always explicitly hear the continuity between the big bands and the bebop era, the affinity between the romantic and the modern. Although he had recorded extensively for numerous labels including his own Debut Records, Mingus's relationship with Atlantic would yield many of his greatest recordings. Cut in 1956, Pithecanthropus Erectus was his first date for the label, and it provided something of a breakthrough for Mingus in his use of extended compositions: the 10-minute title track, and the lovely 'Profile of Jackie,' are among the bassist's finest recordings. The band is notable for the inclusion of the under-recorded tenor saxophonist J.R. Monterose.
By Fred Goodman.
**
This is a showcase for Mingus the bassist as well as Mingus the composer. His sound is recorded extremely well, and his technique, sense of rhythm, and improvisation are just astonishing. I've never heard his bass so well before.
He begins the title cut with a 4-bar motif that's almost as compelling as 'A Love Supreme.' He works this motif with virtuosity, and he is especially effective in his interplay with the pianist, Max Waldron. While some may see this as a harbinger to free jazz, it's really quite accessible, and the 'wild' sounds return logically to the theme. Emotionally gratifying; it's one of his best works.
The big disappointment here is 'A Foggy Day (in San Francisco).' Mingus places various urban sound effects, which 'The Penguin Guide to Jazz' calls superficially jokey.' To me, it's just simply annoying. The repeated taxi horn sounds, etc. are just done too often. Were it not for the overall quality of the other music, I'd take away a * from this CD. Foggy Day does feature some nice sax work (Jackie McLean, J.R. Monterose), swinging bass, and some whistle blowing a la 70's and 80's funk. (Was Parliament listening?).
'Profile of Jackie' is a brief (3:07) mood piece, McLean nicely interpolates 'Chelsea Bridge' and his playing is soulful and sharp. It's a beautiful ballad with nice comping by Mingus, and Willie Jones' deft touch on drums.
Love Chant is the longest piece here (14:56) and, I think, is overlooked in the Mingus discography. There's some very progressive bass work propelling an initially slightly cool jazz/modal sound. The first third features interesting percussive effects, effective abstractions on the piano, and mellow tones on the horns. After this, the beat picks up (sometimes veering into some hard bop accents), and the horns soar above Mingus' beautiful playing. Once again, the Mingus/Waldron improvisations are excellent.
Again, this is an excellent CD, even with the somewhat overdone 'Foggy Day.' Not sure what they did, but it has an almost live sound to it that I loved. Brief liner notes by Nat Hentoff, and more extended notes on each cut by Mingus enhance one's appreciation of each track. Very highly recommended!
By M. Allen Greenbaum.
**
Charles Mingus- Acoustic Bass,
Willie Jones- Drums,
Also:
Jackie McLean, Mal Waldron, J.R. Monterose.
**
01. Pithecanthropus Erectus (Mingus) 10:36
02. A Foggy Day (Gershwin, Gershwin) 7:50
03. Profile of Jackie (Mingus) 3:11
04. Love Chant (Mingus) 14:59
**
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