I've just never seen a packaging move that was so stupid--especially coming from a label like Blue Note, one of the great prestige labels.Fortunately, I just noticed there is a newer REMASTERED version that is in the proper order and with some xtra cuts. It also analyzes reviews to verify trustworthiness.
This a record where these three shine together in an amazing way and should be listened to and appreciated my almost any jazz fan.
These three unbelievable musicians tackle classic Ellington tracks such as "Solitude" and "Caravan" and yet they are performed in such a way that they sound new and fresh. It is also more evidence of the Duke's continued reign as undisputed champ of music in America; he was willing to do anything, go anywhere.
Get it, daddy-o! So it is off to one-click that baby and trade the old one in! And Duke?
You might have to adjust the stereo to really hear Mingus's bass, but it's well worth a good batch of listens in itself - there's enough going on to suggest two Minguses (Mingusi?
It is not typical Duke Ellington, but if you get it, it is one of those albums you need to own. It is musical interplay at its most complex because it plays off of what we know and what we expect from these musicians, reaching, exceeding, and eventually shattering those expectations. These writers, came to the banquet late, and are squabbling over table scraps. It is also more evidence of the Duke's continued reign as undisputed champ of music in America; he was willing to do anything, go anywhere.
Ellington dominated the jazz world from the mid-1920s until he died in 1974. The album has a much more "raw" feel than the majority of Ellington's work. Get it, daddy-o! I generally buy high end audiophile records, but this one sounds pretty good, compared to the American pressed anniversary blue notes this one was a keeper. They should have released it in the proper, final sequence, then told you what order to program it in if (for some bizarre reason) you wanted to hear it in the "historical" sequencing. Duke Ellington, Charlie Mingus and Max Roach. I have been a fan of Duke Ellington for many years, and love most of his work.
"Ah man, that was good.. that was sweet.".
This a record where these three shine together in an amazing way and should be listened to and appreciated my almost any jazz fan.
"Very Special" is a jaunty upbeat blues, while the angular, descending line of "Wig Wise" also proves to be quite catchy. No matter how far Mingus reached, no matter how experimental he got, he came from Duke, and worshipped Duke (even though he was the only man Duke had ever fired), and this anxiety is palpable all through this record. So it is not terribly surprising that he sounds at times like Thelonious (another who was deeply touched by Duke)--angular, sparse, very rhythmic.
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He was huge.
The gem of the date is the fragile, somewhat haunting ballad "Fleurette Africaine," where Mingus' floating bassline and Roach's understated drumming add to the mystique of an Ellington work that has slowly been gathering steam among jazz musicians as a piece worth exploring more often. This is truly a masterpiece and should be in any collection. That is like putting out a version of a movie in the order they shot it day by day, rather than the final assembled version that hits the screen.
But perhaps less mentioned is that while this session ended up being a bona fide success, it really had a very good reason to fail or at least flounder in mediocrity. This deserves being listened to, not just talked about.
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So it is not terribly surprising that he sounds at times like Thelonious (another who was deeply touched by Duke)--angular, sparse, very rhythmic. I originally had it on vinyl, and the record has an unbelievable sense of drama and pace as it goes from song to song. The music created at this session was the stuff legends are made of and this set was truly legendary. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average.
Well, that is really dumb. Un des beaux disques, mais il y en a tellement! Duke's piano constantly twists and turns around the framework of chords he lies out for the others, occasionally flirting with atonality but never becoming unlistenable. The Duke, and his prime rate followers on this record, has his claim to fame: to play the most beautiful jazz on the planet.