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Track B - Duet Solo Dancers / Hearts Beat And Shades In Physical Embraces - Charles Mingus - Great

Label: MCA Impulse! - MCAC2-4128 • Format: Cassette Compilation • Country: US • Genre: Jazz • Style: Post Bop, Free Improvisation, Contemporary Jazz
Download Track B - Duet Solo Dancers / Hearts Beat And Shades In Physical Embraces - Charles Mingus - Great

Welcome To AlbumLinerNotes. Track A - Solo Dancer Stop! And Listen, Sinner Jim Whitney! And Sing Songs of Revolutions! These three tempos are alternately used throughout the entire composition along with accelerandos, retards, and rubatos. A slow ballad opens the second track that soon develops to the second alto theme after the piano interlude and solo.

Then a double-time tempo of that same ballad tempo that arrives after the piano-intrance. The first and second piano solos on the third track, the third mode on the A side incidentally, is Mingus playing. Mingus played the two opening piano solos in the third track as example to Jaki Byard at his, Jaki's, request to show him or play it himself.

At first Jaki seemed only impressed to use pyrotechnical Here Is Your Paradise - Chris de Burgh - The Love Songs arpeggios, scales, etc. However, Bob Thiele felt to include the two examples given by Mingus which served to also clear Tisíc Mil (Five Hundred Miles) - Helena Vondráčková A Waldemar Matuška, Marta Kubišová - Tisíc Mil / the intended idea enough for Jaki Byard to give himself up wholly to the composer's development and help to prepare the listeners for the next idea intended by the composer - right The Trees Are Testifying - Peter Himmelman - Gematria down to the moanful background where Charles Mariano knew tears of sound were what was the intended thought in the background and what also was meant to come out of his alto sax solo.

No words or example were needed to convey this idea to Charles Mariano. Only his love of living and knowing life and his understanding of the composer's desire to have one clear idea at least musically recorded here for record. Time, perfect or syncopated time, is when a faucet dribbles from a leaky washer. I'm more than sure an adolescent memory can remember how long the intervals were between each collision of our short-lived drip and its crash into an untidy sink's Witchcraft - Various - The Worlds Greatest Music Series: Pop Jazz (Volume 1) coffee cup with murky grime of old cream still clinging to the edges or a tidy rust stained enamel sink that the owner of such has given up on the idea that that maintenance man is ever going to change the rhythm beat of his dripping faucet by just doing his job and changing that rotten old rubber washer before time runs out of time.

Musicians partly come into the circle of various blame Trouble Traveller - Jimmy K* - Trouble Traveller encompasses much more than leaky faucets, rotten washers, or critics.

How did they get here? I know. It's Freudian. Faucets and old rotten washers. The innocent audiences that are sent in the direction of premature musicians - critics who want to play and some who play and study at music and can only encompass soul-wise and technically about someone else what they themselves can comprehend. They sing - good or bad you never know.

They won't dare stand up with their bald heads or long hair and do so. Especially with their sexataries who usually keep them so busy elsewhere but in places where music is to be played and reviewed.

Critics, they sing, dance, play the piano, bass, drums, saxes, and most of the oral instruments. I even know one who can hear. I mean he can actually hear the difference between a major triad and A minor.

He can also take old chords off old records recorded in by Jelly Roll Morton. After this accomplishment for many years now he also knows that every musician who improvises copies Louis Armstrong. And this man works while musicians who just play music are scuffling to pay rent or have their wives bury them in dirt with the few dollars insurance the American Federation of Musicians calls insurance. This kind of critic-musician man teaches people how to listen to music in new schools and he gets paid to play records to brainwash innocent little people who don't know that if you're going to like something that's beautiful no one can tell you how if it don't just happen.

If it doesn't just happen, you're already brainwashed and instead of hiring someone to tell you what's beautiful for you, and you're past five years old, this means you need an analyst, not a public bathroom attendant with dirty faucets, who only knows what's beautiful to him because of his own inadequacies as to how and why he knows everything Jelly Roll Morton, Flush Gordon, Louis Armstrong, etcetera did and on down to whoever he says is modern.

He Track B - Duet Solo Dancers / Hearts Beat And Shades In Physical Embraces - Charles Mingus - Great even read and score music. Yet this musician-critic fails to ever turn over any charts of his own to be played by musicians he's hired. But should one of these men whose music he reviews and labels come up with some little thing he truly believes is one of his own musical forms, well at least he had not heard it done in his thirty-five years in certain segregated elements of music that the critic is partly responsible for upholding the cursed name, Dirty Faucet will say in his favorite brainwashing voice, "My boy, I notice you call this music extended form when you use only one chord.

Why, Jelly Roll Morton did that in ," and brings in the following week the music that is similar in some respects. Yet this same kind of critic ten years later, when this extended form you used in a few tunes, or what is Pierrot Lunaire - Claude Salmieri - Pierrot Lunaire / Pêcheurs Du Siam in other music as pedal point, ten or more years later has too long been a fad by others who too may never have heard Jelly Roll Morton, and maybe not even this Track B - Duet Solo Dancers / Hearts Beat And Shades In Physical Embraces - Charles Mingus - Great.

Yet this same critic boasts the guys in print like it's his team professionally that uses this pedal point form so it's okay and he's never mentioning Jelly Roll did it in and Mingus inthat is to his knowledge, at a village club. It was One Day I Will Be Bee King - Idle Pilot - Mondegreen (Cassette, Album, Album) missed these forms in the composers' workshop in He also missed the extended forms when I was five years old when I laid my cello down with my sisters Vivian and Grace to figure out on piano why my sister's violin clashed with my cello on certain notes.

I always played my own music with one bass note or no note in the bass clef and moved melodic structure to try and fit what melody or melodies I heard in my brain.

I never liked just chords. Miles Davis once came to my house in California with Lucky Thompson showing his idea of contrapuntal music which Gil Evans did most for him on records, credited to Gerry Mulligan. That was Miles' idea. Miles even named the instrumentation to Lucky and myself French Horn, Tuba, etc.

This was in the mid-forties before he met Evans or Mulligan or even this bassist's extended form. That same day Miles' concept was the same as it was ten years later at Newport: "Damn, Mingus!

How you going to play music with just one bass note so long? And I am also aware that it is a compliment to Jelly Roll if not to me that he, Coltrane, and Roach with The Red Shoes - Sir Thomas Beecham - Sir Thomas Becham Conducts: Music From Films bands got away from those bedamnable fourth cycles and chords on every two beats.

Perhaps when it is understood to them and Jelly Roll that pedal point keys have an easily usable minimum of three key signatures for improvisation, "spontaneous composition" instead of the one tonic key pedal point scale now being used, music will make another turn in this century so that people will know how serious spontaneous composition "improvisation" really is and not just how loud and long it swings or how we swing and sway.

Perhaps it may sound Track B - Duet Solo Dancers / Hearts Beat And Shades In Physical Embraces - Charles Mingus - Great to point out on my own liner notes what I know I have contributed. This would not be a necessity if critics who do not own a direct financial interest in me and a few others would point out fairly the direction of every musician at the point of his musical debut like they do to or for those in whom they do have direct or indirect professional interest as to the furthering of bank accounts.

Or sometimes A Pair Of Brown Eyes - Titus Andronicus - The Most Lamentable Tragedy have odd little reasons not to like certain composers because they know who of the improvisationalists, composers know them and can really see right into their ugly little minds wanting the nerve to blow their horns or write their music.

I feel no need to explain any further the music herewith other than to say throw all other records of mine away except maybe one other. I intend to record it all over again on this label the way it was intended to sound. This is the first time the company I have recorded with set out to help me give you, my audience, a clear picture of my musical ideas without that studio rush feeling.

Impulse went to great expense and patience to give me complete freedom, along with engineer Bob Simpson, for Track B - Duet Solo Dancers / Hearts Beat And Shades In Physical Embraces - Charles Mingus - Great and editing. The three reeds, baritone - Jerome Richardson, tenor - Richard Hafer, and alto - Charles Mariano, were placed in what I called a V balance with the tenor sax at the V's bottom and the baritone and alto closer to the mike.

My reason was that I wanted the tenor sax further from the mike, softer of course, if one is inclined to believe that presence need be obvious. The notes written for tenor were considered in the voiced reed section's overall effect as an illusion Track B - Duet Solo Dancers / Hearts Beat And Shades In Physical Embraces - Charles Mingus - Great sound-overtones coming through between the baritone and alto that are non-directional so as to give the sound of more than two obvious saxes playing but with possibility of being perhaps four or five.

In reverse, if my tenor sax were as close to the mike as my alto and baritone there would be three saxes obviously playing when sometimes I wanted the illusion of more than three. There are at least three perfect overtones that normal ears hear. I was more concerned that the overtones be heard, that one loud tenor note blending with alto and baritone closing out its overtones. Don Butterfield opens on contrabass trombone with pedal point blast.

The contrabass trombone to my knowledge is as rare to find as is a player such as Don. He has refused to play the instrument when requested by rock and roll promoters as a gimmick of odd sound that might start a fad and promote the sales of a million or so records. Don, aside from pedal point notes of both contrabass trombone and tuba, is written in counter lead and center tones on tuba to spread my voicings and help form the illusion of spreaded brass or full ensemble.

Don plays two tubas at once with one mouthpiece. Yet it's difficult to catch him doing this. It's easy when he takes off a night though to realize that last night there were two tubas and tonight there is just one. Dick Hafer's eloquence is found on lead voice behind the alto's opening statement, and solo's, but mainly if you listen to the group as a whole, in the overall fullness rounding out the entire groups sound through his careful playing lines of overtones.

His solo features will be heard on my second album for Impulse. At this moment I'd like to pause for station identification. Charles Mariano lead alto and alto solos. Jerome Richardson lead baritone, flute, soprano, and baritone solos coming to you through some of these same above stated frequencies plus moral support to yours truly. When critics who couldn't hear my Town Hall music tried to get rid of me forever, Jerome was there to say, "Come on, Mingus.

You know we know those cats The Bad Habits* - Its Been A Long Time Coming know what they're saying. Don't read it. Let's show them with our Vanguard band. Thanks, Mr. Also for helping to show that modern music is not owned by adolescents who can't or won't play plunger or bend a brass instrument to sound other than what it sounded like in parade bands. And let me not forget that you introduced me to adult musical life.

From now on I do what I always wanted - work with men "mature people" only, of all ages, regardless of what the kids think. Rolf Ericson. Your knowledge of all the eras in trumpet music meant so much. And I saw you play on cut, bleeding lips night after night trying to help the group's sound. I saw your smiles grow, Richard Williams and Rolf Ericson, as the nights of playing cleared up the confusion of people playing music of a man who can't speak and communicate with his mouth.

I feel in musical love too when I hear your sympathetic understanding of my musical chores on this record. I hope America will accept you, Rolf, in fair musical employment and you, Richard, for the virtuoso that you are and sustain you as well financially. Jaki, I hope you get the band you want and get stuck for a bass player and I can show up and cooperate with you on your music the way you did on mine. All is well, however. That's what's good about stereo.

You can turn the channels up that make it and off if they don't. Especially if it's intentionally not what was meant to come off musically on the track. Guitarist, Jay Berliner, presently with Harry Belafonte. Classical guitar was originally heard and written as in this composition but played by piano at the Vanguard. I wrote the guitar solo; Bob Hammer wrote the one bar modulation going into and the two bars leading out of the guitar solo on the B side from a Spanish piece I'd written some time before.

However, Bob Hammer will be fully represented on my next album for Impulse due to the fact that he is one of the few musical people besides Roland Kirk who came to New York City knowing my music that he'd heard on records.


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10 thoughts on “ Track B - Duet Solo Dancers / Hearts Beat And Shades In Physical Embraces - Charles Mingus - Great

  1. View credits, reviews, tracks and shop for the Vinyl release of Great Moments With Charles Mingus on Discogs/5(9).
  2. The Black Saint and the Sinner Lady is a studio album by American jazz musician Charles Mingus, released on Impulse! Records in The album consists of a single continuous composition—partially written as a ballet—divided into four tracks and six meztishakarlandanayaforcehammer.infoinfo: Avant-garde jazz, Third Stream, experimental big .
  3. Charles Mingus The Black Saint And The Sinner Lady _____ 1. Track A - Solo Dancer () Stop! Look! And Listen, Sinner Jim Whitney! 2. Track B - Duet Solo Dancers () Hearts' Beat and Shades in Physical Embraces 3. Track C - Group Dancers () (Soul Fusion) Freewoman and Oh, This Freedom's Slave Cries 4. Mode D - Trio and Group Dancers.
  4. Discover releases, reviews, track listings, recommendations, and more about Charles Mingus - Great Moments With Charles Mingus at Discogs. Complete your Charles Mingus collection/5(13).
  5. Sep 28,  · Great Moments With Charles Mingus, a Compilation of songs by Charles Mingus. Hearts' Beat and Shades in Physical Embraces A3 Track B--Duet Solo Dancers: Hearts' Beat and Shades in Physical Embraces A4 Track C--Group Dancers: (Soul Fusion) Freewoman and Oh, This Freedom's Slave Cries 7 /5(1).

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