CHARLES MINGUS BLACK SAINT & SINNER LADY '63 LP stereo A35 as35 impulse gatefold stereo RVG stampers to matrix, ex shape lp (no tactiles), vg+ cover with breakthrough contained at middle bottom edge (see pics) laminate cover, light name on back. some stains, wear etc. with printed color inner sleeve. RARE!!

AMG review

The Black Saint and the Sinner Lady is one of the greatest achievements in orchestration by any composer in jazz history. Charles Mingus consciously designed the six-part ballet as his magnum opus, and -- implied in his famous inclusion of liner notes by his psychologist -- it's as much an examination of his own tortured psyche as it is a conceptual piece about love and struggle. It veers between so many emotions that it defies easy encapsulation; for that matter, it can be difficult just to assimilate in the first place. Yet the work soon reveals itself as a masterpiece of rich, multi-layered texture and swirling tonal colors, manipulated with a painter's attention to detail. There are a few stylistic reference points --Ellington, the contemporary avant-garde, several flamenco guitar breaks -- but the totality is quite unlike what came before it. Mingus relies heavily on the timbral contrasts between expressively vocal-like muted brass, a rumbling mass of low voices (including tuba and baritone sax), and achingly lyrical upper woodwinds, highlighted by altoist Charlie Mariano. Within that framework, Mingus plays shifting rhythms, moaning dissonances, and multiple lines off one another in the most complex, interlaced fashion he'd ever attempted. Mingus was sometimes pigeonholed as a firebrand, but the personal exorcism of Black Saint deserves the reputation -- one needn't be able to follow the story line to hear the suffering, mourning, frustration, and caged fury pouring out of the music. The 11-piece group rehearsed the original score during a Village Vanguard engagement, where Mingus allowed the players to mold the music further; in the studio, however, his exacting perfectionism made The Black Saint and the Sinner Lady the first jazz album to rely on overdubbing technology. The result is one of the high-water marks for avant-garde jazz in the '60s and arguably Mingus' most brilliant moment.

Mingus* ?– The Black Saint And The Sinner Lady

Tracklist?

Credits?

• Alto Saxophone – Charlie Mariano
• Bass, Piano, Written-By – Charlie Mingus*
• Design [Liner] – Joe Lebow
• Drums – Dannie Richmond
• Engineer – Bob Simpson
• Guitar – Jay Berliner
• Photography [Cover And Line Photos] – Bob Ghiraldini
• Piano – Jaki Byard
• Producer – Bob Thiele
• Soprano Saxophone, Baritone Saxophone, Flute – Jerome Richardson
• Tenor Saxophone, Flute – Dick Hafer
• Trombone – Quentin Jackson
• Trumpet – Richard Williams, Rolf Ericson
• Tuba – Don Butterfield

Notes?

Recorded January 20, 1963.

The tracks on side B are the played continuously. 
Also available in Mono as A-35.

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Vinyl grading is usually based on the Goldmine standard and is as follows:

“SS” Still Sealed – For the collector that demands nothing but perfection.

“M” Mint - a near perfect, or unplayed record.

“NM” Near Mint - in factory fresh condition, like new.

EX+ - close to like new with only superficial signs of use that don't affect play. Will satisfy all but the most vain and demanding collector.

EX - a used, reasonable copy. Shows slight signs of wear.

VG+ - There will be obvious signs of wear and the possibility a few skuffs and/or light surface noise between tracks or during quiet passages, but still quite nice.

VG - significant wear and marks and usually quite noticeable surface noise,still plays great.

Good - In the record world, "Good" is not good! From here on down, we're talking about beat-up records!