Pithecanthropus Erectus Charles Mingus Rar

Charles Mingus Autobiography

Charles MINGUS - Pithecanthropus Erectus 1956 Jazz One of the great figures in modern jazz, bassist Charles Mingus was the ultimate triple threat: a master of his instrument, a jazz composer of the first rank, and an insightful leader of a series of extraordinary and incendiary bands. View credits, reviews, tracks and shop for the 1960 Flipback sleeve Vinyl release of Pithecanthropus Erectus on Discogs. Label: Atlantic - 332023,Atlantic - 332.023. Format: Vinyl LP, Compilation, Mono Flipback sleeve. Country: France. Genre: Jazz. Style: Hard Bop, Post Bop.

Charles Mingus is clearly one of the 'actors' and one of the greatest jazz musicians in history, as he was gifted with a real talent for improvisation and could play several instruments including double bass and piano. That's not all, beyond the influence he had, he was a great composer and conductor. Pithecanthropus Erectus was definately.
Editors' Notes With such major statements as Pithecanthropus Erectus and The Clown behind him, bassist-composer Charles Mingus reached an early career height in 1959 with Mingus Ah Um, his first album for Columbia.It’s not trivial that roughly half of it was recorded on May 5, the same day that John Coltrane waxed roughly half of Giant Steps for Atlantic.

Pithecanthropus Erectus was Charles Mingus’ breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with Pithecanthropus Erectus he began seeking new ways to increase the evocative power of the art form and challenge his musicians (who here include altoist Jackie McLean and pianist Mal Waldron) to work outside of convention. The title cut is one of his greatest masterpieces: a four-movement tone poem depicting man’s evolution from pride and accomplishment to hubris and slavery and finally to ultimate destruction. The piece is held together by a haunting, repeated theme and broken up by frenetic, sound-effect-filled interludes that grow darker as man’s spirit sinks lower. It can be a little hard to follow the story line, but the whole thing seethes with a brooding intensity that comes from the soloist’s extraordinary focus on the mood, rather than simply flashing their chops. Mingus’ playful side surfaces on “A Foggy Day (In San Francisco),” which crams numerous sound effects (all from actual instruments) into a highly visual portrait, complete with honking cars, ringing trolleys, sirens, police whistles, change clinking on the sidewalk, and more. This was the first album where Mingus tailored his arrangements to the personalities of his musicians, teaching the pieces by ear instead of writing everything out. Perhaps that’s why Pithecanthropus Erectus resembles paintings in sound — full of sumptuous tone colors learned through Duke Ellington, but also rich in sonic details that only could have come from an adventurous modernist. And Mingus plays with the sort of raw passion that comes with the first flush of mastery. Still one of his greatest.

Tracklist:
Fmrte 2019 crack. 01. Pithecanthropus Erectus
02. A Foggy Day
03. Profile Of Jackie
04. Love Chant

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Charles MINGUS - Pithecanthropus Erectus 1956

Jazz
One of the great figures in modern jazz, bassist Charles Mingus was the ultimate triple threat: a master of his instrument, a jazz composer of the first rank, and an insightful leader of a series of extraordinary and incendiary bands. Raised in Los Angeles, Mingus was a devotee of Duke Ellington, whose compositional style had an unsurpassed effect on the young composer. As a player, however, Mingus was drawn to his contemporaries, who included Thelonious Monk, Bud Powell, Charlie Parker, and Max Roach (indeed, Roach and Mingus co-owned their own Debut Records during the '50s). Perhaps his greatest contribution was bridging the gap between those two generations: in Mingus's music, one could always explicitly hear the continuity between the big bands and the bebop era, the affinity between the romantic and the modern. Although he had recorded extensively for numerous labels including his own Debut Records, Mingus's relationship with Atlantic would yield many of his greatest recordings. Cut in 1956, Pithecanthropus Erectus was his first date for the label, and it provided something of a breakthrough for Mingus in his use of extended compositions: the 10-minute title track, and the lovely 'Profile of Jackie,' are among the bassist's finest recordings. The band is notable for the inclusion of the under-recorded tenor saxophonist J.R. Monterose.

By Fred Goodman.
**
This is a showcase for Mingus the bassist as well as Mingus the composer. His sound is recorded extremely well, and his technique, sense of rhythm, and improvisation are just astonishing. I've never heard his bass so well before.
He begins the title cut with a 4-bar motif that's almost as compelling as 'A Love Supreme.' He works this motif with virtuosity, and he is especially effective in his interplay with the pianist, Max Waldron. While some may see this as a harbinger to free jazz, it's really quite accessible, and the 'wild' sounds return logically to the theme. Emotionally gratifying; it's one of his best works.
The big disappointment here is 'A Foggy Day (in San Francisco).' Mingus places various urban sound effects, which 'The Penguin Guide to Jazz' calls superficially jokey.' To me, it's just simply annoying. The repeated taxi horn sounds, etc. are just done too often. Were it not for the overall quality of the other music, I'd take away a * from this CD. Foggy Day does feature some nice sax work (Jackie McLean, J.R. Monterose), swinging bass, and some whistle blowing a la 70's and 80's funk. (Was Parliament listening?).
'Profile of Jackie' is a brief (3:07) mood piece, McLean nicely interpolates 'Chelsea Bridge' and his playing is soulful and sharp. It's a beautiful ballad with nice comping by Mingus, and Willie Jones' deft touch on drums.
Love Chant is the longest piece here (14:56) and, I think, is overlooked in the Mingus discography. There's some very progressive bass work propelling an initially slightly cool jazz/modal sound. The first third features interesting percussive effects, effective abstractions on the piano, and mellow tones on the horns. After this, the beat picks up (sometimes veering into some hard bop accents), and the horns soar above Mingus' beautiful playing. Once again, the Mingus/Waldron improvisations are excellent.
Again, this is an excellent CD, even with the somewhat overdone 'Foggy Day.' Not sure what they did, but it has an almost live sound to it that I loved. Brief liner notes by Nat Hentoff, and more extended notes on each cut by Mingus enhance one's appreciation of each track. Very highly recommended!
By M. Allen Greenbaum.
**
Charles Mingus- Acoustic Bass,
Willie Jones- Drums,

Pithecanthropus erectus charles mingus rarest

Also:
Jackie McLean, Mal Waldron, J.R. Monterose.
**
01. Pithecanthropus Erectus (Mingus) 10:36
02. A Foggy Day (Gershwin, Gershwin) 7:50
03. Profile of Jackie (Mingus) 3:11
04. Love Chant (Mingus) 14:59
**
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Charles Mingus Autobiography