Genre | Jazz |
---|---|
Date (CEST) | 2019-09-02 08:37:34 |
Group | GCP |
Size | 64 MB |
Files | 11 |
M3U / SFV / NFO |
Joni_Mitchell-Mingus-Remastered-1999-GCP
Infos
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Tracklist (M3U)
# | Filename | Artist | Songname | Bitrate | BPM |
---|---|---|---|---|---|
1 | 01-joni_mitchell-happy_birthday_1975_(rap)-gcp.mp3 | Joni Mitchell | Happy Birthday 1975 (Rap) | 217 | Unknown |
2 | 02-joni_mitchell-god_must_be_a_boogie_man-gcp.mp3 | Joni Mitchell | God Must Be A Boogie Man | 244 | Unknown |
3 | 03-joni_mitchell-funeral_(rap)-gcp.mp3 | Joni Mitchell | Funeral (Rap) | 218 | Unknown |
4 | 04-joni_mitchell-a_chair_in_the_sky-gcp.mp3 | Joni Mitchell | A Chair In The Sky | 232 | Unknown |
5 | 05-joni_mitchell-the_wolf_that_lives_in_lindsey-gcp.mp3 | Joni Mitchell | The Wolf That Lives In Lindsey | 247 | Unknown |
6 | 06-joni_mitchell-is_a_muggin_(rap)-gcp.mp3 | Joni Mitchell | I's A Muggin' (Rap) | 240 | Unknown |
7 | 07-joni_mitchell-sweet_sucker_dance-gcp.mp3 | Joni Mitchell | Sweet Sucker Dance | 239 | Unknown |
8 | 08-joni_mitchell-coin_in_the_pocket_(rap)-gcp.mp3 | Joni Mitchell | Coin In The Pocket (Rap) | 230 | Unknown |
9 | 09-joni_mitchell-the_dry_cleaner_from_des_moines-gcp.mp3 | Joni Mitchell | The Dry Cleaner From Des Moines | 263 | Unknown |
10 | 10-joni_mitchell-lucky_(rap)-gcp.mp3 | Joni Mitchell | Lucky (Rap) | 228 | Unknown |
11 | 11-joni_mitchell-goodbye_pork_pie_hat-gcp.mp3 | Joni Mitchell | Goodbye Pork Pie Hat | 234 | Unknown |
NFO
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p r o u d l y p r e s e n t s ..::
░ Artist | Joni Mitchell
Title | Mingus
Genre | Jazz
Source | CDDA
Format | Album (Remastered)
Label | Asylum Records
Catalog | 7559-60557-2
Released | 1999
Ripped | 2019
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Quality | 235 kbps avg at 44.1 kHz ▄▄███▀▀
Encoder | Lame 3.100 ▄▄██▀▀ ░
Size | 67.44 MB ▄▄█████▀ ░░░
Playtime | 37:18 ▄███▄▄▄▄▄ ▄█▀ ▓█▄ ░░
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░ R E L E A S E I N F O R M A T I O N
No female artist better typified the singer/songwriter movement of
the '70s than Joni Mitchell, though her public image as the serious,
sensitive woman with a guitar shortchanged her abilities, ambitions,
and accomplishments. Mitchell's gift for writing personal,
folk-inspired songs about the thorny side of life and love was
inarguable (particularly on albums like 1970's Ladies of the Canyon
and 1971's Blue), but Mitchell also brought the same smarts and
eloquence to glossy pop on her commercial breakthrough, 1974's Court
& Spark, and she was incorporating jazz and world music into her
work long before either was fashionable in American pop music (and
she also collaborated with respected jazz artists such as Charles
Mingus, Pat Metheny, and Jaco Pastorius, something none of her peers
accomplished).
In the months prior to the passing of legendary jazz bassist Charles
Mingus, Mitchell had been personally summoned by the bop pioneer to
collaborate on a musical version of T.S. Eliot's Four Quartets. The
project would entail Mitchell to condense the text for Mingus to
score instrumentally. He planned on utilizing a full orchestra, as
well as the more traditional guitar and bass. They would accompany
Mitchell's vocals and the narration of selected portions of the
text. After a few weeks of consideration, Mitchell's reaction was
that "[she]'d rather condense the bible."
Mingus then bestowed Mitchell with six melodies - "Joni I" through
"Joni VI" - penned specifically for her. Mitchell spent a few weeks
with Mingus - who was totally immobilized from amyotropic lateral
sclerosis (aka Lou Gehrig's Disease) - during the spring of 1978.
Their partnership advanced the half-dozen tunes. More importantly,
it shook Mitchell from a three-month long writer's block/drought --
yielding two of her best late-'70s compositions: "God Must Be a
Boogie Man" and the revisitation and completion of a track she'd
been wood-shedding, now titled "The Wolf That Lives in Lindsey."
Incidentally, the former piece was inspired by the opening chapters
of Mingus' autobiography, Beneath the Underdog. Initial recordings
during Mitchell's stay with Mingus in New York City produced several
interesting experimental sessions with the likes of Stanley Clarke
(bass), Jan Hammer (keyboards), John McLaughlin (guitar), Gerry
Mulligan (baritone sax), and Tony Williams (drums). A few of these
recordings - while rumored to have been lost, destroyed, or made
otherwise unavailable - were leaked into the trading community in
the late '90s. Arguably, Mitchell could not have chosen any finer
musicians than the sextet she ultimately incorporated into this
work.
The luminaries include Herbie Hancock (electric piano), Wayne
Shorter (soprano sax), Jaco Pastorious (bass/horn arrangements),
Peter Erskine (drums), Don Alias (congas), and Emil Richards
(percussion). Sprinkled amongst these soulfully jazzy pieces are
five "raps," or aural snapshots of the time Mitchell and Mingus
spent together. Sadly, Charles Mingus passed before he was able to
listen to this timeless and ageless paean to his remarkable
contributions to bop and free jazz.
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ooh ye.. ░ ▀██████████████▄░▀███████▀
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::t r a c k l i s t ::: ▀██████▀▀
::: . ▀▀
------------------------------------------------------------------------------
01. Happy Birthday 1975 (Rap) 0:57
02. God Must Be A Boogie Man 4:36
03. Funeral (Rap) 1:07
04. A Chair In The Sky 6:42
05. The Wolf That Lives In Lindsey 6:33
06. I's A Muggin' (Rap) 0:07
07. Sweet Sucker Dance 8:04
08. Coin In The Pocket (Rap) 0:11
09. The Dry Cleaner From Des Moines 3:22
10. Lucky (Rap) 0:03
11. Goodbye Pork Pie Hat 5:36
-----
37:18
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▀▀▀ ▀ ▀▀ G R E E T I N G S ██▄█░█▓▄▄█▄
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░ Special Thanks to DSP CMS FTD KrbZ JCE FuFFeNS IGR iMPG diss
░ and all rippers that have and continue to rip quality music. ░
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