CHARLES MINGUS "Black Saint and The Sinner Lady" LP, Gatefold, Stereo RVG

$ 36

$ 36 Sold For

May 11, 2013 Sold Date

May 4, 2013 Start Date

$ 10 Start price

5 Number Of Bids

USA Country Of Seller

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Description

Condition:

AMG review

[-]by Steve Huey

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.

Mingus* ?– The Black Saint And The Sinner Lady

Label: Impulse! ?– AS-35 Format: Vinyl, LP, Album, Stereo
Country: US Released: 1963 Genre: Jazz Style: Post Bop

Tracklist?

A1 Solo Dancer (Stop! And Listen, Sinner Jim Whitney!) 6:20 A2 Duet Solo Dancers (Heart's Beat And Shades In Physical Embraces) 6:25 A3 Group Dancers ([Soul Fusion] Freewoman And Oh This Freedom's Slave Cries) 7:00 Side 2 (17:52) B1 Trio And Group Dancers (Stop! Look! And Sing Songs Of Revolutions!) B2 Single Solos And Group Dance (Saint And Sinner Join In Merriment On Bottle Front) B3 Group And Solo Dance (Of Love, Pain, And Passioned Revolt, Then Farewell, My Beloved, 'til It's Freedom Day)

Credits?

Alto Saxophone – Charlie Mariano
Bass, Piano, Written-By – Charlie Mingus*
Design [Liner] – Joe Lebow
Drums – Dannie Richmond
Engineer – Bob Simpson
Guitar – Jay Berliner
Photography [Cover And Line Photos] – Bob Ghiraldini
Piano – Jaki Byard
Producer – Bob Thiele
Soprano Saxophone, Baritone Saxophone, Flute – Jerome Richardson
Tenor Saxophone, Flute – Dick Hafer
Trombone – Quentin Jackson
Trumpet – Richard Williams, Rolf Ericson
Tuba – Don Butterfield

Notes?

Recorded January 20, 1963.

The tracks on side B are the played continously.
Also available in Mono as A-35.

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GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.

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