Charles will guide you through a comprehensive step by step introduction to playing Blues Guitar. Learn the techniques made famous by blues greats such as: B.B. King, Chuck Berry, Stevie Ray Vaughan, Buddy Guy and many others!
Features 24 bit remastering and comes with a mini-description. After bassist/composer Charles Mingus' death on January 5, 1979, a reunion band featuring some of his former sidemen called Mingus Dynasty was formed. Cut just six months after the bassist's demise, this album was the first Mingus Dynasty recording, and it has its moments. Such alumni as altoist John Handy, trombonist Jimmy Knepper, trumpeter Jimmy Owens, and tenorman Joe Farrell meet up with two members of Mingus' last major band (pianist Don Pullen and drummer Dannie Richmond), plus bassist Charlie Haden, who ably fills in for the late bandleader.
Charles Sedlak is an international recording artist and a recipient of a PHD in Music Education. His Performing ability and intense interest in education has allowed him to be chosen as one of the first accomplished musicians on Dean Markley's new educational support team.
Most often heard in large ensembles and rarely in a trio context, Charles Mingus joined forces with pianist Hampton Hawes for this 1957 studio date. It features four standards, two originals by the bassist, and a jam by the group credited to Hawes. While there's nothing particularly arresting or startling about the date, the relationship between the two ostensible co-leaders is a good case study in group dynamics when deference between two strong-willed individualists turns into a certain amount of compromise.
This is an LP reissue of a set that was originally titled Pre Bird because it features some of the advanced originals that Charles Mingus wrote prior to hearing Charlie Parker. The bassist leads an undisciplined but colorful 25-piece orchestra on three titles including an Eric Dolphy feature on "Bemonable Lady" while the other five tracks are by a ten-piece (including two pianos) band; Lorraine Cousins sings "Eclipse" and "Weird Nightmare." It's an interesting set of typically unconventional music by Mingus.
Having completed what he (and many critics) regarded as his masterwork in The Black Saint and the Sinner Lady, Charles Mingus' next sessions for Impulse found him looking back over a long and fruitful career. Mingus, Mingus, Mingus, Mingus, Mingus is sort of a "greatest hits revisited" record, as the bassist revamps or tinkers with some of his best-known works. ~ AllMusic
International recording and touring artist, Charles Sedlak will give you very detailed and entertaining lessons to get you started playing Flamenco guitar today! Charles will teach you proper form, technique and strumming patterns to master the lessons in this DVD and inspire you to create your own exciting Flamenco compositions. Learn techniques such as: Rasguedo, Rumba, Triplets, Picking Techniques, Malaguena, Tarantas, Soleares and More! Flamenco Made Easy Contains: Bonus Lessons, Interactive Lesson Charts, on-screen tabs and a PDF Tab Book!
So many of the jazz great are now gone, a fact that no one would dispute but that really hits home after listening to a masterpiece such as this reissue of Charles Mingus' Mingus Moves. Not only have we lost the impetuous bassist and composer, but also drummer Dannie Richmond, tenor titan George Adams and the extraordinary pianist Don Pullen. The latter three men, in particular, were taken way before their times and one longs for the incendiary magic that the Pullen-Adams group (the seeds of which are planted here) conjured for a brief spell in the '80s.
Of all the titles in the Impulse! 2 on 1 series, this volume may be the very finest. It pairs two indisputable classic Charles Mingus titles – both of which have endured for nearly 50 years – that were cut during the same year. While The Black Saint and the Sinner Lady was recorded on January 20, 1963, the recording that ended up as Mingus Mingus Mingus Mingus was begun that very day, but not finished until September. The former album is rightly regarded as one of (if not the) Mingus' masterpieces for its use of colors, tonalities, expansive harmonies, and the juxtaposition of numerous aspects of the jazz tradition – from Ellingtonian swing to hard bop, to West Coast and new-thing jazz – employing a vocal chorus, and even Latin and flamenco flourishes in a single conceptual work played by an 11-piece orchestra.