The Black Saint And The Sinner Lady Charles Mingus

Album info

Album-Release:
1963

HRA-Release:
24.09.2013

Album including Album cover

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  • 1Track A - Solo Dancer (Stop! Look! And Listen, Sinner Jim Whitney!)06:35
  • 2Track B - Duet Solo Dancers (Hearts Beat And Shades In Physical Embraces)06:42
  • 3Track C-Group Dancers (Soul Fusion) Freewoman And Oh This Freedom s Slave Cries07:19
  • 4Medley Mode D-Trio And Group Dancers : Mode E-Single Solos And Group Dance : Mode F-Group And Solo Dance18:35
  • Total Runtime39:11

Info for The Black Saint And The Sinner Lady

"The Black Saint and the Sinner Lady is a six-part suite (four digital tracks) recorded in 1963. This suite is a feast of virtuoso performances, shifting moods and textures, and detailed background work by Mingus' eleven-piece band. Jerome Richardson is heard to great effect on baritone sax near the beginning of the work; he contributes some beautifully supportive flute (with Dick Hafer) and soprano elsewhere. Quentin Jackson's trombone work is arresting, and the other hornmen (Rolf Ericson and Richard Williams on trumpets, Don Butterfield on tuba, Hafer on tenor sax as well as flute) are excellent. But the pervasive voice of the entire piece is Charlie Mariano on alto sax. Mariano's playing is wrenchingly emotional and evocative, conveying pathos, fervor, and undying conviction. But as wonderful as Mariano's work is here, this is very much a group effort. Especially in the last three sections (digital track four) of the piece, this is music of group interaction. Solo voices emerge from the welter and are drawn back into it. Occasionally the ferocity of each voice clamoring with the others reaches such a furious intensity that it would take just one more step for it to reach the world of the medium-sized group free jazz that would be recorded not long after this album: Albert Ayler's New York Eye and Ear Control, Coltrane's Ascension, etc. Then in an instant the ensemble stops on a dime with a unison statement executed with high-energy precision. It is an extraordinary thing to hear." (All About Jazz)

Charles Mingus, piano
Jay Berliner, guitar
Jerome Richardson, flute, soprano saxophone, baritone saxophone
Dick Hafer, flute, tenor saxophone
Charlie Mariano, alto saxophone
Richard Gene Williams, trumpet
Rolf Ericson, trumpet
Quentin Jackson, trombone
Don Butterfield, tuba
Jaki Byard, piano
Dannie Richmond, drums

Digitally remastered


Charles Mingus
One of the most important figures in twentieth century American music, Charles Mingus was a virtuoso bass player, accomplished pianist, bandleader and composer. Born on a military base in Nogales, Arizona in 1922 and raised in Watts, California, his earliest musical influences came from the church– choir and group singing– and from “hearing Duke Ellington over the radio when [he] was eight years old.” He studied double bass and composition in a formal way (five years with H. Rheinshagen, principal bassist of the New York Philharmonic, and compositional techniques with the legendary Lloyd Reese) while absorbing vernacular music from the great jazz masters, first-hand. His early professional experience, in the 40′s, found him touring with bands like Louis Armstrong, Kid Ory and Lionel Hampton.

Eventually he settled in New York where he played and recorded with the leading musicians of the 1950′s– Charlie Parker, Miles Davis, Bud Powell, Art Tatum and Duke Ellington himself. One of the few bassists to do so, Mingus quickly developed as a leader of musicians. He was also an accomplished pianist who could have made a career playing that instrument. By the mid-50′s he had formed his own publishing and recording companies to protect and document his growing repertoire of original music. He also founded the “Jazz Workshop,” a group which enabled young composers to have their new works performed in concert and on recordings.

Mingus soon found himself at the forefront of the avant-garde. His recordings bear witness to the extraordinarily creative body of work that followed. They include: Pithecanthropus Erectus, The Clown, Tijuana Moods, Mingus Dynasty, Mingus Ah Um, The Black Saint and the Sinner Lady, Cumbia and Jazz Fusion, Let My Children Hear Music. He recorded over a hundred albums and wrote over three hundred scores. Although he wrote his first concert piece, “Half-Mast Inhibition,” when he was seventeen years old, it was not recorded until twenty years later by a 22-piece orchestra with Gunther Schuller conducting. It was the presentation of “Revelations” which combined jazz and classical idioms, at the 1955 Brandeis Festival of the Creative Arts, that established him as one of the foremost jazz composers of his day.

In 1971 Mingus was awarded the Slee Chair of Music and spent a semester teaching composition at the State University of New York at Buffalo. In the same year his autobiography, Beneath the Underdog, was published by Knopf. In 1972 it appeared in a Bantam paperback and was reissued after his death, in 1980, by Viking/Penguin and again by Pantheon Books, in 1991. In 1972 he also re-signed with Columbia Records. His music was performed frequently by ballet companies, and Alvin Ailey choreographed an hour program called “The Mingus Dances” during a 1972 collaboration with the Robert Joffrey Ballet Company.

He toured extensively throughout Europe, Japan, Canada, South America and the United States until the end of 1977 when he was diagnosed as having a rare nerve disease, Amyotropic Lateral Sclerosis. He was confined to a wheelchair, and although he was no longer able to write music on paper or compose at the piano, his last works were sung into a tape recorder.

From the 1960′s until his death in 1979 at age 56, Mingus remained in the forefront of American music. When asked to comment on his accomplishments, Mingus said that his abilities as a bassist were the result of hard work but that his talent for composition came from God.

Mingus received grants from the National Endowment for the Arts, The Smithsonian Institute, and the Guggenheim Foundation (two grants). He also received an honorary degree from Brandeis and an award from Yale University. At a memorial following Mingus’ death, Steve Schlesinger of the Guggenheim Foundation commented that Mingus was one of the few artists who received two grants and added: “I look forward to the day when we can transcend labels like jazz and acknowledge Charles Mingus as the major American composer that he is.” The New Yorker wrote: “For sheer melodic and rhythmic and structural originality, his compositions may equal anything written in western music in the twentieth century.”

He died in Mexico on January 5, 1979, and his wife, Sue Graham Mingus, scattered his ashes in the Ganges River in India. Both New York City and Washington, D.C. honored him posthumously with a “Charles Mingus Day.” (Source: www.mingusmingusmingus.com)

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