Duke Ellington • Charlie Mingus • Max Roach - Money Jungle album flac

In 1952 Mingus co-founded Debut Records with Max Roach so he could conduct his recording career as he saw fit. The name originated from his desire to document unrecorded young musicians. Despite this, the best-known recording the company issued was of the most prominent figures in bebop. On May 15, 1953, Mingus joined Dizzy Gillespie, Parker, Bud Powell, and Roach for a concert at Massey Hall in Toronto, which is the last recorded documentation of Gillespie and Parker playing together. Like Ellington, Mingus wrote songs with specific musicians in mind, and his band for Erectus included adventurous musicians: piano player Mal Waldron, alto saxophonist Jackie McLean and the Sonny Rollins-influenced tenor of J. R. Monterose. The title song is a ten-minute tone poem, depicting the rise of man from his hominid roots (Pithecanthropus erectus) to an eventual downfall.

Duke Ellington surprised the jazz world in 1962 with his historic trio session featuring Charles Mingus and Max Roach. Not in a mood to simply rework older compositions, the bulk of the LP focused on music he wrote specifically for the session. Money Jungle" is a thunderous opener, a blues that might be classified somewhere between post-bop and avant-garde

Duke Ellington, Charles Mingus, Max Roach Caravan. Duke Ellington Fleurette Africaine (African Flower). Duke Ellington, Charles Mingus, Max Roach Fleurette africaine.

Ellington! Mingus! Roach! A triumvirate not a trio. Duke Ellington, Charles Mingus and Max Roach "Fleurette Africaine". off of 1962's seminal Money Jungle LP. Money Jungle - Duke Ellington, Charlie Mingus, Max Roach added 9 new photos to the album Money Jungle - Duke Ellington, Charlie Mingus, Max Roach. 20 December 2008 ·. Money Jungle - Duke Ellington, Charlie Mingus, Max Roach.

Duke Ellington created some of the 20th century's most graceful and winsome music, and to be sure, those more elegant aspects of his personality shine through on many of these cuts. But for the most part, this album is difficult, chaotic, and intense listening. Ellington certainly doesn't shrink from the fight, offering some of his most challenging, discordant, far-reaching piano work.