This live date, recorded January 16, 1959 at Nonagon Art Gallery in New York City features John Handy on alto sax, Booker Ervin on tenor sax, Richard Wyands on piano, Dannie Richmond on drums, and Charles Mingus on bass. It's a chance to hear Mingus the bassist and Mingus the leader in action with a small group; the recording quality is excellent. The left channel provides the alto saxophone and the right channel provides the tenor saxophone. Mingus takes lengthy bass solos on three of the four numbers.

The sleeve-note says that this was the first recording session for both men, although Ervin had actually recorded earlier with the rhythm-and-blues group of Ernie Fields. The opening Nostalgia in Times Square has understandably become a jazz standard, with its catchy melody and hint of a marching beat. Here it seesaws between fast and slow tempos.

'Nostalgia In Times Square' has that unique harmony at the beginning between alto and tenor sax; it's distinctive. As Handy moves through his first solo, it's interesting to hear Mingus, with his assertive bass pattern, change the tempo two times. Keeping the same form, Mingus does it again while Ervin moves out with his solo. Then, after a lengthy bass excursion, Mingus exchanges fours with drummer Richmond. They bounce ideas off each other, Mingus quoting 'Dixie' and 'Camptown Races' and Richmond quoting Gene Krupa. The ballad 'I Can't Get Started' is a feature for John Handy, who stayed with Mingus through 1958 and 1959 and returned to the fold after the leader's death to perform with Mingus Dynasty and presently the Mingus Big Band. His strong lyrical approach presents a smooth melodic foray from start to finish. Mingus soars on a lengthy solo that stays mostly with the melody; his lyrical ballad work includes tremolos that sustain and embellishments that are woven into the framework.

'No Private Income Blues' and 'Alice's Wonderland' are lesser-known Mingus compositions. The up-tempo blues number features solo work from Handy and Ervin, one from each channel; Ervin's tenor is first and Handy second. It's interesting, this being a live session, to hear Ervin playing as he walks toward the microphone after Handy's solo; that begins a fiery exchange of fours and leads to twos and finally a rip-roaring two-saxophone blend where the different melodies are woven together. 'Alice's Wonderland' is a slow piece with built-in imagery that finds the saxophones working both in unison and apart. Solo work from Mingus, Wyands, and Handy results in a lengthy and thought-provoking ballad. In the liner notes Nat Hentoff tells us that this tune and 'Nostalgia In Times Square' were both written for the film 'Shadows' produced by John Cassavetes. 'Alice's Wonderland,' however, was not used in the film; it was originally written for a love scene, and the sensitive approach used by Mingus for this one is quite special.

Personnel

Charles Mingus: bass, acoustic.

Mount & Blade: Warband Guides Slavic Raven's Guides. This item has been removed from the community because it violates Steam Community & Content Guidelines. It is only visible to you. If you believe your item has been removed by mistake, please contact Steam Support. Mount & Blade – Warband Achievements Full list of all 56 Mount & Blade – Warband achievements worth 1,000 gamerscore. It takes around 100-120 hours to unlock all of the achievements on Xbox One. Mount & Blade: Warband has 56 achievements worth 1000 points. View all the achievements here. Svarog the Mighty. You have completed the following achievements: Might Makes Right, Choppy Chop Chop, Glorious Mother Faction, and Old school Sniper. Lady of the Lake. As a female character, give a companion character a great sword.

Album information

Title: Mingus In Wonderland Year Released: 1997 Record Label: Blue Note Records

Tags

With New New York, his debut for OmniTone after five recordings for the Denmark-based SteepleChase label, saxophonist Steve Slagle reaffirms his deep affection for the city and scene he has been a vital part of since moving to the Big Apple in 1977. This powerhouse offering, his most seasoned and soulful expression to date, features a core quartet of bassist Cameron Brown, drummer Gene Jackson and longtime associate Dave Stryker on guitar, augmented by special guests Joe Lovano on tenor sax and Joe Locke on vibes.
Slagle’s personal paean to New York City brilliantly demonstrates his capacity to stretch into adventurous realms. Originals like the Ornettelike “Loftology” and “Blackwell’s Manhattan” reveal the chemistry that has been percolating between Slagle and Lovano since they were both loft dwellers back in the day. As Slagle explains, “Between Joe and I, the music can go in a lot of different places and some of that can’t be contrived by a producer, really. It’s more something that you have between people that would still exist no matter where or when or whatever.”
And that kindred thing goes way back. As Slagle puts it, “Shit, I lent Joe money when he first came to New York.” After a laugh and a long pause he offers, “He paid me back though.” Indeed, Lovano may have paid him back in full by tapping Slagle for his current quartet and using him as a standout soloist in his expanded ensemble, documented on Joe’s latest Blue Note recording, 52nd Street Themes.
On New New York, the twisted “Bowery Blues,” featuring some particularly sick slide work by Stryker, partly reflects Slagle’s early dues-paying years with Hammond B-3 organ maven Jack McDuff as well as his rewarding seven-year tenure (1990-1997) with the Mingus Big Band. The soprano vehicle “St. Mark’s Shuffle” represents two different periods in the saxophonist’s New York saga-one spent on St. Marks Street in the Park Slope section of Brooklyn, another on St. Marks Street in the East Village section of Manhattan. And the sparks fly again between Slagle and Lovano on a ripping rendition of “Thelonious,” in honor of the quintessential New York pianist.
The last track on this collection of New York-related themes is a naked duet between bass and alto sax on Mingus’ “Nostalgia in Times Square.” As Slagle explains, “We actually recorded this after the session had ended, while Gene was packing up his drums and Stryker was leaving. Cameron and I just did it totally off the cuff, just the two of us.
“That was actually [OmniTone founder] Frank Tafuri’s idea,” he continues, “and I’m thankful to him for suggesting it because it’s a tune I used to play a lot with the Mingus band and it’s definitely got a New York vibe. Of course, nowadays Times Square is not the same Times Square that Mingus pictured when he wrote this song. Mingus was talking about the Times Square of the ’50s-the Jack Kerouac era. I think it was probably a more interesting place then. If you wrote a song about Times Square today it would have to be like a Cmaj7th chord with some sugar on top. They’ve cleaned it up and made it all shiny and good for Middle America. It was kind of dangerous in other eras. It was the place that mom would tell the kids not to go to. But Times Square today is like Disneyland, and this song isn’t really coming from that.”
Slagle mentions that shortly after the release of New New York, which bears one Portuguese title in the lyrical alto flute vehicle “Mañha de Hudson,” he got a call to play at a festival in Portugal. “So on the next record, I plan to have a French title, a German title, a Bulgarian title, a Turkish title, and then hopefully put together a whole string of gigs,” he laughs. “It’ll be my world tour.”

Decastar 135e Manual Arts. 8/20/2018 - on admin. Welcome to WeldingWeb.com, the ultimate Source for Welding Information & Knowledge Sharing! Here you can join over 40,000 Welding Professionals & enthusiasts from around the world discussing all things related to Welding. Decastar 135e manual arts. Deca Welders Any Good? « Reply #3 on: April 06, 2005, 12:28:20 AM » A Lincon welder 115 goes for 725 to 950 and that is a fair deal so if a 'Deca ' is 269.00 I would say pass. 240943 MIG DECASTAR 135E 115/60 'CSA' - Princess Auto. Decastar 135e Manual Meat. 10/9/2018 by admin. What is 'Clash Royale Deck Builder'? After playing Clash of Clans for years and creating I wanted to move on to a new game that interested me but also had depth. Luckily, Supercell released Clash Royale and I got really into it. After playing for a little bit I realized the game was primarily about.

Originally Published