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░ ▓█████████▓▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
░ ▓████▓▌ ░ Artist.......: Charles Mingus ▐▓▀▀
▓ ▐█████▓█ Album........: The Great Concert of Charles Mingus ▀ ░
▀█▄▓████▓▓▄█▀ Genre........: Jazz ░▓ ▌
▄▀██▓██▓▓▀ Language.....: English ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: Universal ░▓░ █▓▌
▐█▓▓ ▀▓ Catnr........: n/a ░▓▓▓ ▐█▓▓
▓█▓▌ URL..........: n/a ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░
░ ░ █▓▌▄▄▄ ▄▓ ░▓▓▓░ source......: CDDA ░▓▓▓▓▓▓░ ▀▓█████▓▓▓
░▓▓░ ▐█▓▓ ░ ░▓▓░ playtime....: 127:16 min ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ rip.date....: 10-01-2004 ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ str.date....: 00-00-2003 ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ ripper......: JusT TeaM ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ grabber.....: EAC V0.95 prebeta 3 ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ encoder.....: LAME v.3.90.3 modified▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ size........: 116,4 MB ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ quality.....: VBRkbps/44,1Hz/Joint-Stereo░ ░▓░ ░
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░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ cd1 ▓▌
▓████▓▌ ▓▌
▓████▓▌ 01. ATFW (art tatum fats walter) 04:17 ▓▌
▓████▓▌ 02. presentation of musicians johnny coles 01:08 ▓▌
▓████▓▌ trumpet ▓▌
▓████▓▌ 03. So long eric (don't stay over there too long) 21:47 ▓▌
▓████▓▌ 04. orange was the color of her dress then blue 14:29 ▓▌
▓████▓▌ silk ▓▌
▓████▓▌ 05. fables of faubus 27:49 ▓▌
▓████▓▌ ▓▌
▓████▓▌ cd2 ▓▌
▓████▓▌ ▓▌
▓████▓▌ 01. sophisticated lady 07:55 ▓▌
▓████▓▌ 02. parkeriana (dedicated to a genius) 27:04 ▓▌
▓████▓▌ 03. mediations on integration 22:47 ▓▌
▓████▓▌ (or for a pair of wire cutters) ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ Irascible, demanding, bullying, and probably a ▓▌
▓████▓▌ genius, Charles Mingus cut himself a uniquely ▓▌
▓████▓▌ iconoclastic path through jazz in the middle of the ▓▌
▓████▓▌ 20th century, creating a legacy that became ▓▌
▓████▓▌ universally lauded only after he was no longer ▓▌
▓████▓▌ around to bug people. As a bassist, he knew few ▓▌
▓████▓▌ peers, blessed with a powerful tone and pulsating ▓▌
▓████▓▌ sense of rhythm, capable of elevating the ▓▌
▓████▓▌ instrument into the front line of a band. But had ▓▌
▓████▓▌ he been just a string player, 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 ▓▌
▓████▓▌ pulse, spirit, spontaneity, and ferocious ▓▌
▓████▓▌ expressive power of jazz. ▓▌
▓████▓▌ Intensely ambitious yet often earthy in expression, ▓▌
▓████▓▌ simultaneously radical and deeply traditional, ▓▌
▓████▓▌ Mingus' music took elements from everything he had ▓▌
▓████▓▌ experienced ù from gospel and blues through New ▓▌
▓████▓▌ Orleans jazz, swing, bop, Latin music, modern ▓▌
▓████▓▌ classical music, even the jazz avant-garde. His ▓▌
▓████▓▌ touchstone was Duke Ellington, but Mingus took the ▓▌
▓████▓▌ sonic blend and harmonies of Ellingtonia much ▓▌
▓████▓▌ further, throwing in abrasive dissonances and ▓▌
▓████▓▌ abrupt changes in meter and tempo, introducing ▓▌
▓████▓▌ tremendously exhilarating accelerations that ▓▌
▓████▓▌ generated a momentum of their own. While his early ▓▌
▓████▓▌ works were written out in a classical fashion, 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 ▓▌
▓████▓▌ plenty of room for the players' own musical ▓▌
▓████▓▌ personalities and ideas. He was also a formidable ▓▌
▓████▓▌ pianist, fully capable of taking that role in a ▓▌
▓████▓▌ group ù which he did in his 1961-62 bands, hiring ▓▌
▓████▓▌ another bassist to fill in for him. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Along the way, Mingus made a lot of enemies, ▓▌
▓████▓▌ causing sometimes violent confrontations on and off ▓▌
▓████▓▌ the bandstand. A big man physically, he used his ▓▌
▓████▓▌ bulk as a weapon of intimidation, and he was not ▓▌
▓████▓▌ above halting concerts to chew out inattentive ▓▌
▓████▓▌ audiences or errant sidemen, even cashiering a ▓▌
▓████▓▌ musician now and then on the spot. At one of his ▓▌
▓████▓▌ concerts in Philadephia ù and a memorial to a dead ▓▌
▓████▓▌ colleague at that ù he broke up the show by ▓▌
▓████▓▌ slamming the piano lid down, nearly smashing his ▓▌
▓████▓▌ pianist's hands, and then punched trombonist Jimmy ▓▌
▓████▓▌ Knepper in the mouth. For a savage physical ▓▌
▓████▓▌ portrait of the emotions that seethed within him, ▓▌
▓████▓▌ check out the photo on the cover of Duke ▓▌
▓████▓▌ Ellington's Money Jungle; Mingus looks as if he is ▓▌
▓████▓▌ about to kill someone. But he could also be a ▓▌
▓████▓▌ gentle giant as his moods permitted, and that ▓▌
▓████▓▌ quality can be felt in some of his music. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Mingus felt the lash of racial prejudice very ▓▌
▓████▓▌ intensely ù which, combined with the frustrations ▓▌
▓████▓▌ of making it in the music business on his own ▓▌
▓████▓▌ terms, found its outlet in music. Indeed, some of ▓▌
▓████▓▌ his bizarre titles were political in nature, such ▓▌
▓████▓▌ as "Fables of Faubus" (referring to the Arkansas ▓▌
▓████▓▌ governor who tried to keep Little Rock schools ▓▌
▓████▓▌ segregated), "Oh Lord, Don't Let Them Drop That ▓▌
▓████▓▌ Atomic Bomb on Me" or "Remember Rockefeller at ▓▌
▓████▓▌ Attica." But he could also be wildly humorous, the ▓▌
▓████▓▌ most notorious example being "If Charlie Parker Was ▓▌
▓████▓▌ a Gunslinger, There'd Be a Whole Lot of Dead ▓▌
▓████▓▌ Copycats" (later shortened to "Gunslinging Bird"). ▓▌
▓████▓▌ ▓▌
▓████▓▌ Born in a Nogales Army camp, Mingus was shortly ▓▌
▓████▓▌ thereafter taken to the Watts district of Los ▓▌
▓████▓▌ Angeles, where he grew up. The first music he heard ▓▌
▓████▓▌ was that of the church ù the only music his ▓▌
▓████▓▌ stepmother allowed around the house ù but one day, ▓▌
▓████▓▌ despite the threat of punishment, he tuned in Duke ▓▌
▓████▓▌ Ellington's "East St. Louis Toodle-Oo" on his ▓▌
▓████▓▌ father's crystal set, his first exposure to jazz. ▓▌
▓████▓▌ He tried to learn the trombone at six and then the ▓▌
▓████▓▌ cello, but he became fed up with incompetent ▓▌
▓████▓▌ teachers and ended up on the double bass by the ▓▌
▓████▓▌ time he reached high school. His early teachers ▓▌
▓████▓▌ were Red Callender and an ex-New York Philharmonic ▓▌
▓████▓▌ bassist named Herman Rheinschagen, and he also ▓▌
▓████▓▌ studied composition with Lloyd Reese. A proto-Third ▓▌
▓████▓▌ Stream composition written by Mingus in 1940-41, ▓▌
▓████▓▌ "Half-Mast Inhibition" (recorded in 1960), reveals ▓▌
▓████▓▌ an extraordinary timbral imagination for a ▓▌
▓████▓▌ teenager. ▓▌
▓████▓▌ ▓▌
▓████▓▌ As a bass prodigy, Mingus performed with Kid Ory in ▓▌
▓████▓▌ Barney Bigard's group in 1942 and went on the road ▓▌
▓████▓▌ with Louis Armstrong the following year. He would ▓▌
▓████▓▌ gravitate toward the R&B side of the road later in ▓▌
▓████▓▌ the '40s, working with the Lionel Hampton band in ▓▌
▓████▓▌ 1947-48, backing R&B and jazz performers, and ▓▌
▓████▓▌ leading ensembles in various idioms under the name ▓▌
▓████▓▌ Baron Von Mingus. He began to attract real national ▓▌
▓████▓▌ attention as a bassist for Red Norvo's trio with ▓▌
▓████▓▌ Tal Farlow in 1950-51, and after leaving that ▓▌
▓████▓▌ group, he moved to New York and began working with ▓▌
▓████▓▌ several stellar jazz performers, including Billy ▓▌
▓████▓▌ Taylor, Stan Getz and Art Tatum. He was the bassist ▓▌
▓████▓▌ in the famous 1953 Massey Hall concert in Toronto ▓▌
▓████▓▌ with Charlie Parker, Dizzy Gillespie, Bud Powell ▓▌
▓████▓▌ and Max Roach, and he briefly joined his idol ▓▌
▓████▓▌ Ellington, where he had the dubious distinction of ▓▌
▓████▓▌ being the only man Duke ever personally fired from ▓▌
▓████▓▌ his band. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Around this time, Mingus tried to make himself into ▓▌
▓████▓▌ a rallying point for the jazz community. He founded ▓▌
▓████▓▌ Debut Records in partnership with his then-wife ▓▌
▓████▓▌ Celia and Roach in 1952, seeing to it that the ▓▌
▓████▓▌ label recorded a wide variety of jazz from bebop to ▓▌
▓████▓▌ experimental music until its demise in 1957. Among ▓▌
▓████▓▌ Debut's most notable releases were the Massey Hall ▓▌
▓████▓▌ concert, an album by Miles Davis, and several ▓▌
▓████▓▌ Mingus sessions that traced the development of his ▓▌
▓████▓▌ ideas. He also contributed composed works to the ▓▌
▓████▓▌ Jazz Composers' Workshop from 1953 to 1955, and ▓▌
▓████▓▌ later in '55, he founded his own Jazz Workshop ▓▌
▓████▓▌ repertory group that found him moving away from ▓▌
▓████▓▌ strict notation toward his looser, dictated manner ▓▌
▓████▓▌ of composing. ▓▌
▓████▓▌ ▓▌
▓████▓▌ By 1956, with the release of Pithecanthropus ▓▌
▓████▓▌ Erectus (Atlantic), Mingus had clearly found ▓▌
▓████▓▌ himself as a composer and leader, creating ▓▌
▓████▓▌ pulsating, ever-shifting compendiums of jazz's past ▓▌
▓████▓▌ and present, feeling his way into the free jazz of ▓▌
▓████▓▌ the future. For the next decade, he would pour ▓▌
▓████▓▌ forth an extraordinary body of work for several ▓▌
▓████▓▌ labels, including key albums like The Clown, New ▓▌
▓████▓▌ Tijuana Moods, Mingus Ah Um, Blues and Roots and Oh ▓▌
▓████▓▌ Yeah; standards like "Goodbye Pork Pie Hat," ▓▌
▓████▓▌ "Better Git It In Your Soul," "Haitian Fight Song" ▓▌
▓████▓▌ and "Wednesday Night Prayer Meeting"; and extended ▓▌
▓████▓▌ works like Meditations on Integration and Epitaph. ▓▌
▓████▓▌ Through ensembles ranging in size from a quartet to ▓▌
▓████▓▌ an 11-piece big band, a procession of noted sidemen ▓▌
▓████▓▌ like Eric Dolphy, Jackie McLean, J.R. Monterose, ▓▌
▓████▓▌ Jimmy Knepper, Roland Kirk, Booker Ervin, and John ▓▌
▓████▓▌ Handy would pass, with Mingus' commanding bass and ▓▌
▓████▓▌ volatile personality pushing his musicians further ▓▌
▓████▓▌ than some of them might have liked to go. The ▓▌
▓████▓▌ groups with the great Dolphy (heard live on Mingus ▓▌
▓████▓▌ At Antibes) in the early '60s might have been his ▓▌
▓████▓▌ most dynamic, and The Black Saint and the Sinner ▓▌
▓████▓▌ Lady (1963), an extended ballet for big band that ▓▌
▓████▓▌ captures the anguished/joyful split Mingus ▓▌
▓████▓▌ personality in full, passionately wild cry ù may be ▓▌
▓████▓▌ his masterpiece. ▓▌
▓████▓▌ ▓▌
▓████▓▌ However, Mingus' obsessive efforts to free himself ▓▌
▓████▓▌ from the economic hazards and larceny of the music ▓▌
▓████▓▌ business nearly undermined his sanity in the 1960s ▓▌
▓████▓▌ (indeed, some of the liner notes for The Black ▓▌
▓████▓▌ Saint album were written by his psychologist, Dr. ▓▌
▓████▓▌ Edmund Pollock). He tried to compete with the ▓▌
▓████▓▌ Newport festivals by organizing his own Jazz ▓▌
▓████▓▌ Artists Guild in 1960 that purported to give ▓▌
▓████▓▌ musicians more control over their work, but that ▓▌
▓████▓▌ collapsed with the by-now-routine rancor that ▓▌
▓████▓▌ accompanied so many Mingus ventures. A calamitous, ▓▌
▓████▓▌ self-presented New York Town Hall concert in 1962; ▓▌
▓████▓▌ another, shorter-lived recording venture, Charles ▓▌
▓████▓▌ Mingus Records, in 1964-65; the failure to find a ▓▌
▓████▓▌ publisher for his autobiography Beneath the ▓▌
▓████▓▌ Underdog, and other setbacks broke his bank account ▓▌
▓████▓▌ and ultimately his spirit. He quit music almost ▓▌
▓████▓▌ entirely from 1966 until 1969, resuming ▓▌
▓████▓▌ performances in June 1969 only because he ▓▌
▓████▓▌ desperately needed money. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Financial angels in the forms of a Guggenheim ▓▌
▓████▓▌ Fellowship in composition, the publication of ▓▌
▓████▓▌ Beneath the Underdog in 1971, and the purchase of ▓▌
▓████▓▌ his Debut masters by Fantasy boosted Mingus' ▓▌
▓████▓▌ spirits, and a new stimulating Columbia album Let ▓▌
▓████▓▌ My Children Hear Music thrust him back into public ▓▌
▓████▓▌ attention. By 1974, he had formed a new young ▓▌
▓████▓▌ quintet, anchored by his loyal drummer Dannie ▓▌
▓████▓▌ Richmond and featuring Jack Walrath, Don Pullen and ▓▌
▓████▓▌ George Adams, and more compositions came forth, ▓▌
▓████▓▌ including the massive, kaleidoscopic, ▓▌
▓████▓▌ Colombian-based "Cumbia and Jazz Fusion" that began ▓▌
▓████▓▌ its life as a film score. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Respect was growing, but time, alas, was running ▓▌
▓████▓▌ out, for in fall 1977, Mingus was diagnosed with ▓▌
▓████▓▌ amyotrophic lateral sclerosis (Lou Gehrig's ▓▌
▓████▓▌ disease), and by the following year, he was unable ▓▌
▓████▓▌ to play the bass. Though confined to a wheelchair, ▓▌
▓████▓▌ he nevertheless carried on, leading recording ▓▌
▓████▓▌ sessions, and receiving honors at a White House ▓▌
▓████▓▌ concert on Jun. 18, 1978. His last project was a ▓▌
▓████▓▌ collaboration, Mingus, with folk-rock singer Joni ▓▌
▓████▓▌ Mitchell, who wrote lyrics to Mingus' music and ▓▌
▓████▓▌ included samples of Mingus' voice on the record. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Since his death, Mingus' importance and fame ▓▌
▓████▓▌ increased remarkably, thanks in large part to the ▓▌
▓████▓▌ determined efforts of Sue Mingus, his widow. A ▓▌
▓████▓▌ posthumous repertory group, Mingus Dynasty, was ▓▌
▓████▓▌ formed almost immediately after his death, and that ▓▌
▓████▓▌ concept was expanded in 1991 into the exciting ▓▌
▓████▓▌ Mingus Big Band, which has resurrected many of ▓▌
▓████▓▌ Mingus' most challenging scores. Epitaph was ▓▌
▓████▓▌ finally reconstructed, performed and recorded in ▓▌
▓████▓▌ 1989 to general acclaim, and several box sets of ▓▌
▓████▓▌ portions of Mingus' output have been issued by ▓▌
▓████▓▌ Rhino/Atlantic, Mosaic and Fantasy. Beyond ▓▌
▓████▓▌ re-creations, the Mingus influence can be heard on ▓▌
▓████▓▌ Branford Marsalis' early Scenes In The City album, ▓▌
▓████▓▌ and especially in the big band writing of his ▓▌
▓████▓▌ brother Wynton. The Mingus blend of wildly colorful ▓▌
▓████▓▌ eclecticism solidly rooted in jazz history should ▓▌
▓████▓▌ serve his legacy well in a future increasingly ▓▌
▓████▓▌ populated by young conservatives who want to pay ▓▌
▓████▓▌ their respects to tradition and try something ▓▌
▓████▓▌ different. ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
▓ ▐█████▓█ [ A B O U T . U S ] ▓▌
▀█▄▓████▓▓▄█▀ ▓▌
▀██▓██▓▓▀ Our group consists of many rippers who are music enthu- ▓▌
▀█▓▓▓▀ siasts. Justfun is releasing different kind of music like ▓▌
▀▓ indie rock, trip-hop, ethnic, jazz, french, brazilian ▓▌
░ electro and many more ... We will bring you the music ▓▌
░ we like and share it with the rest of the under- ▓▌
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▐███▓██▀▀▓▀░ We're currently looking for : ██▓▓█▀▀
▓████▓▌ ░ - music enthusiast ppl buying cds on a regular basis. ▐▓▀▀
▓████▓▌ - ppl who can get promos or advanced rls. ▀ ░▌
░ ▓████▓▌ - Siteop who can provide at least 10mbits and ▓▌
▓ ▐█████▓█ 50gb++ for our archive. ▄ ▓▌
▀█▄▓████▓▓▄█▀ - People with skill and experience ▄▄█▌ ▓▌
▀██▓██▓▓▀ ... and everyone who wants to help in a ▄████▓▌ ▓▌
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