Charles MINGUS - Live in Chateauvallon 1972

Charles MINGUS - Live in Chateauvallon 1972
August 22, 1972, Chateauvallon, France
1989 Issue. FCD 134

Jazz

Recently, every discovery of a Mingus date "At UCLA," "At Cornell," "The Great Charles Mingus Concert" has produced sales, critical acclaim, wide-spread popular acceptance, in spite of often ragged musical performance (even by Mingus standards) and inferior, distant and distorted audio fidelity. This recording, on the other hand, is admittedly very "leisurely" Mingus, but it reveals his love of melody, of Ellington, and of the authentic tradition of African-American and American popular song art. It's basically an altoist (the commanding, lush-toned, Bird-influenced Charles McPherson) plus rhythm section, but there's never the least doubt about who the leader on the session is.

Pianist John Foster was an obscure, little-recorded musician who deserved far better. Thankfully, he can be heard here, one of his very few recorded appearances. Roy Brooks is, quite simply, one of the outstanding drummers, whether judged as a time-keeper and swinger, a technician (both his brushwork and stick-work were immaculate), or creative spirit (I've never seen any other drummer literally "blow" drums that's right, with Mingus he would attach hollow tubes to the toms and blow into them to raise and lower the pitch). He was the drummer in Horace Silver's most successful quintet with Blue Mitchell and Junior Cook, but those relatively formulaic, restrictive recordings don't do him justice. To see him live with Mingus or the Heath brothers was to appreciate his immense talent. His life came to a sad and pathetic end not long ago, causing many to overlook his immense contributions prior to his final year.

1972 was, I'm quite sure, the year I caught this group at the Brown Shoe in Chicago, supplemented by the trumpet of Jon Faddis and woodwinds of the ill-fated Bobby Jones. That's the group I wish had been more frequently recorded, but in its absence I'll gladly settle for "Live at Chateauvallon."
By Samuel Chell.
**
Charles McPherson- Alto Sax
John Foster- Piano, Vocal
Charles Mingus- Bass
Roy Brooks- Drums, Musical Saw
**
1. Duke Ellington Medley (2646)
   a-Blues in G (bass solo)
   b-In A Sentimental Mood (Duke Ellington)
   c-Sophisticated Lady (Ellington)
   d-Mood Indigo (Ellington, Barney Bigard)
   e-Take The A Train (Billy Strayhorn)
2. Fables Of Faubus (1910)
3. Diane [Body And Soul] (656)
4. Blues Medley [Blues for Some Bones] (1532)
   a-John's Blues (1021)
   b-Blues for Roy's Saw (202)
   c-Noddin' Ya Head Blues (251)
**

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Charles MINGUS And Friends In Concert 1972

Charles MINGUS And Friends In Concert 1972

Jazz

This two-record set is the last remnant of Mingus' brave and profoundly mad attempt to revive for a time the Big Band format. In February, 1972, he gathered 22 of the best working jazzmen in New York, including the members of his own quintet and special friends Gene Ammons, Dizzy Gillespie, Gerry Mulligan and Randy Weston, and sold out Philharmonic Hall on a freezing winter night. The concert was Mingus' first appearance on a New York stage in ten years and from first note to last was an eclectic, jumbled, confusing affair. The producer and master of ceremonies, Bill Cosby, patronized Mingus' audience and distracted the musicians with his buffoonery. Vocalist Honey Gordon was undermiked and inaudible. There was confusion among the under-rehearsed musicians about the order of solos, and there was a general complaint that Mingus didn't make enough display of his artistry on the bass. In spite of all these headaches, this selectively edited and I suspect heavily remixed version of the concert is a gas, at once a tribute to the genius and vision of Mingus and a fine modern Big Band recording.
The program consists of a general Mingus retrospective retooled for the large ensemble, combined with single numbers and suites that Mingus wrote especially for the big band. Classics such as "Jump Monk," "Ecclusiastics" and "E's Flat" are all given new arrangements and sound fresh and ripe. The featured soloist on all three is Gene Ammons on tenor, playing a husky bluesy mix to which the audience often responded audibly. Also to be found here is the rarely played "Eclipse," the deep blue, sexually earthy ballad that Mingus wrote for Billie Holiday. Honey Gordon's deep alto is a sharp contrast to Holiday's style, but she combines with the lowing instrumental section to make this one of the highlights of the album.
What makes this set worth the price of admission is a little mingling of Mingusiana with Ellingtonia called "Us Is Two"; it was the theme that Mingus wrote for his big band and for some reason didn't put on the unsuccessful orchestral album Let My Children Hear Music. It's a gorgeous and swinging trifle with sensation, definitely one of the most pleasing tunes that Mingus has ever composed and it's evident that the musicians liked it too, as it gets the most rousing performance of the night.
This isn't one of Mingus' best albums and is the other direction from the jazz avant-garde, but this music is just fun to get high with and a good look at the latest chapter of the never dull adventures of Charles Mingus. And check out Gene Ammons—to these ears it's the best recording he's ever made.
By Stephen DAVIS.
**
Most of Charles Mingus's larger-group recordings, particularly in the later part of his career, tended to be unruly and somewhat undisciplined. This two-CD reissue set (which adds five selections to the original two-LP program), which celebrated Mingus's return to jazz after six years of little activity. Such great jazzmen as baritonist Gerry Mulligan, tenor saxophonist Gene Ammons, altoist Lee Konitz, pianist Randy Weston, James Moody (heard on flute) and a variety of Mingus regulars had a chance to play with the great bassist; even fellow bassist Milt Hinton and Bill Cosby (taking a humorous scat vocal) join in. Most of the music is overly loose but the overcrowded "E's Flat, Ah's Flat Too" and particularly the "Little Royal Suite" are memorable. The "Little Royal Suite," in addition to Ammons, Konitz, Mulligan, Charles McPherson and Bobby Jones, features an 18-year old Jon Faddis (who was sitting in for an ailing Roy Eldridge) stealing the show.
By Scott Yanow, All Music Guide.
**
I found this rare February 1972 recording showcasing Charlie Mingus backed by an all star New York Jazz line-up to be spectacular. The album marked Mingus' return to the public eye after an extended hiatas. Comedian Bill Cosby is the MC and even does a cute little scat vocal with Dizzy Gillespie. Featured artists included Gerry Mulligan, Gene Ammons and drummer Joe Chambers.
The stand-out piece has to be the 20 minute 'Little Royal Suite' featuring a (then) 18 year old Jon Faddis on trumpet, displaying amazing prowess in the upper register. He steals the show! Mingus himself has very limited solo space showing how generous he was to let his sidemen be heard instead.
This a must have for any Mingus fans collection.
By  J.J. Martin.
**
Arranged By - Charles Mingus (tracks: 1-8, 1-10, 2-4) , Sy Johnson (tracks: 1-2 to 1-7, 2-.2, 2-3, 2-6, 2-7)
Bass - Charles Mingus (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7) , Milt Hinton (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Conductor, Producer [Original Recordings] - Teo Macero
Drums - Joe Chambers (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
French Horn - Dick Berg (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7) , Sharon Moe (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Piano - John Foster (16) (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Saxophone [Alto] - Charles McPherson (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7) , George Dorsey (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7) , Lee Konitz (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Saxophone [Alto], Flute - Richie Perri (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Saxophone [Baritone] - Gerry Mulligan (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Saxophone [Baritone], Clarinet [Bass] - Howard Johnson (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Saxophone [Tenor] - Gene Ammons (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Saxophone [Tenor], Clarinet - Bobby Jones (2) (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Technician [Transfer And Digital Editing] - Danny Kadar (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Trombone [Tenor] - Eddie Bert (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Trumpet - Eddie Preston (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7) , Jon Faddis (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7) , Lloyd Michaels (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7) , Lonnie Hillyer (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Tuba - Bob Stewart (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-7)
Written-By - Charles Mingus (tracks: 1-2 to 1-8, 1-10, 2-2 to 2-4, 2-6, 2-7)
**
1-1.   Introduction By Bill Cosby  1:06 
       Hosted By - Bill Cosby
1-2.   Jump Monk  7:28
       Soloist, Saxophone [Alto] - Charles McPherson
       Soloist, Saxophone [Tenior] - Gene Ammons
       Soloist, Trombone - Eddie Bert
       Soloist, Trumpet - Lonnie Hillyer
1-3.   E.S.P.  9:25
       Soloist, Saxophone [Alto] - Lee Konitz
       Soloist, Saxophone [Baritone] - Gerry Mulligan
       Soloist, Saxophone [Tenor] - Gene Ammons
       Soloist, Trumpet - Lonnie Hillyer
1-4.   Ecclusiastics  9:31
       Soloist, Saxophone [Tenor] - Bobby Jones (2) , Gene Ammons
       Soloist, Trumpet - Jon Faddis
1-5.   Eclipse  4:03
       Vocals - Honey Gordon
1-6.   Us Is Two  10:12
       Soloist, Saxophone [Alto] - Charles McPherson
       Soloist, Saxophone [Tenor] - Bobby Jones (2) , Gene Ammons
1-7.   Taurus In The Arena Of Life  4:53
       Soloist, Saxophone [Tenor] - Bobby Jones (2) , Gene Ammons
       Soloist, Trumpet - Eddie Preston
1-8.   Mingus Blues  5:33
       Soloist, Bass - Charles Mingus
       Soloist, Saxophone [Tenor] - Gene Ammons
1-9.   Introduction To Little Royal Suite By Bill Cosby  0:14
       Hosted By - Bill Cosby
1-10.  Little Royal Suite  20:20
       Soloist, Saxophone [Alto] - Charles McPherson , Lee Konitz
       Soloist, Saxophone [Baritone] - Gerry Mulligan
       Soloist, Saxophone [Tenor] - Gene Ammons
       Soloist, Trumpet - Jon Faddis
2-1.   Introduction To Strollin By Bill Cosby  0:50
2-2.   Strollin'  10:14
       Soloist, Clarinet - Bobby Jones (2)
       Soloist, Saxophone [Alto] - Lee Konitz , Richie Perri
       Soloist, Saxophone [Baritone] - Gerry Mulligan , Howard Johnson
       Soloist, Saxophone [Tenor] - Gene Ammons
       Soloist, Trombone - Eddie Bert
       Soloist, Trumpet - Lonnie Hillyer
       Vocals - Honey Gordon
2-3.   The I Of Hurricane Sue  11:12
       Soloist, Piano - John Foster (16)
       Soloist, Saxophone [Alto] - Charles McPherson
       Soloist, Saxophone [Tenor] - Bobby Jones (2)
2-4.   E's Flat, Ah's Flat Too (A.K.A Hora Decubitus)  17:08
       Piano - Randy Weston
       Soloist, Bass - Milt Hinton
       Soloist, Drums - Joe Chambers
       Soloist, Flute - James Moody
       Soloist, Saxophone [Alto] - Lee Konitz
       Soloist, Saxophone [Baritone] - Gerry Mulligan , Howard Johnson
       Soloist, Saxophone [Tenor] - Bobby Jones (2) , Gene Ammons
       Soloist, Trumpet - Jon Faddis , Lloyd Michaels , Lonnie Hillyer
2-5.   Ool-Ya-Koo  3:54
       Vocals - Bill Cosby , Dizzy Gillespie
       Written-By - John Birks "Dizzy" Gillespie* , Walter "Gil" Fuller*
2-6.   Portrait  3:58
       Soloist, Bass - Charles Mingus
       Vocals - Honey Gordon
2-7.   Don't Be Afraid, The Clown's Afraid Too  10:36
       Soloist, Bass - Charles Mingus
       Soloist, Piano - John Foster (16)
       Soloist, Saxophone [Tenor] - Bobby Jones (2)
       Soloist, Trumpet - Jon Faddis , Lonnie Hillyer
**

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Charles MINGUS - Changes One and Two 1974

Charles MINGUS - Changes One and Two 1974
SD 1677,SD 1678
NYC, December 27, 1974
(PS: This albums has nothing to do with Bremen Concert,as they were saying >>> Source: Soundboard or radio?
I BELIEVE it is pure FICTION).

Jazz

Although I like these Changes records, I won't deny that this fails to match the ambition and grand scope of most of his 60s works. Both Changes One and Two feature a small combo (a quintet consisting of Mingus, Don Pullen [piano], Dannie Richmond [drums], George Adams [sax] and Jack Walrath [trumpet]) stretching themselves out occasionally, but more embedded in traditional jazz structure than usual for Mingus. All four tunes here all follow the head/solo/solo/solo/head format. "Duke Ellington's Sound of Love" is a lovely ballad with a fairly restrained Pullen solo, unfortunately it just doesn't have that characteristic Mingus stamp of composition to it. Having a melody ascend while the chords descend has been around forever. "Devil Blues" has some gritty singing and hollering with some pained trumpet in the background, but after a few verses, it's business as usual. Sax and trumpet get some cool phrases in the middle, and then again at the end they squeal out of their range, but it ends just as it seems like all hell could break loose.

"Sue's Changes" is the obvious standout here, lasting 17 minutes and changing often through different moods, tempos, and structures. It starts off slow, then picks up to a march feel, then gets faster and brighter, then vamps on the coolest two bars of the song, then builds to an insane climax before it breaks down. For the choruses, everyone follows this EXACT SAME STRUCTURE. So even though it's still head/solo/head, a crazy head makes for more interesting soloing. Of course, this is why it takes 17 minutes, but it's worth it to hear this talented group playing what so few are capable of doing.
**
CHANGES ONE (and its companion disc CHANGES TWO, both recorded in a single session) features outstanding performances of Mingus's intense, expressive compositions and is considered, even by the bassist himself, to be among his finest work. This group of intelligent, technically superior musicians, consisting of tenor sax, trumpet, piano and drums, had been playing together for two years at the time of recording and were at the peak of their collaborative powers. The tracks are as diverse as they are engaging-- ranging from the mind-boggling complexity of "Sue's Changes (with shifts of tempo, theme and mood, showered over by Don Pullen's keyboard flurries) to the straightahead rock of "Devil Blues" (with a spirited, shouting blues vocal by saxophonist George Adams). Emotions run high through the album as well, particularly in the passionate, swelling tenderness of "Duke Ellington's Sound of Love," an elegy to one of Mingus's heroes. Supported throughout by the artist's fat, elastic bass tone and the protean, articulate musical personalities of his band, the compositions are textural, challenging and multi-faceted, while still managing to remain accessible. Highly recommended, CHANGES ONE (particularly in conjunction with TWO) acts as an excellent introduction to the music of this jazz pioneer.
**
Charles Mingus- (Bass);
George Adams- (Vocals, Tenor Sax);
Marcus Belgrave, Jack Walrath- (Trumpet);
Don Pullen- (Piano);
Dannie Richmond- (Drums).
**
Changes One

A1. Remember Rockefeller at Attica  5:56
A2. Sue's Changes   17:04
B1. Devil Blues   9:24
B2. Duke Ellington's Sound of Love  12:04
**
Changes Two

A1. Free Cell Block F, 'Tis Nazi U.S.A.   6:52
A2 Orange Was the Color of Her Dress, Then Silk Blue   17:31
B1 Black Bats and Poles   6:20
B2 Duke Ellington's Sound of Love (with Jackie Paris)   4:13
B3 For Harry Carney   7:57
**

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Charles MINGUS - The Black Saint & The Sinner Lady 1963

Charles MINGUS - The Black Saint & The Sinner Lady 1963
AS-35

Jazz

This 1963 recording occupies a special place in Mingus's work, his most brilliantly realized extended composition. The six-part suite is a broad canvas for the bassist's tumultuous passions, ranging from islands of serenity for solo guitar and piano to waves of contrapuntal conflict and accelerating rhythms that pull the listener into the musical psychodrama. It seems to mingle and transform both the heights and clichés of jazz orchestration, from Mingus's master, Duke Ellington, to film noir soundtracks. The result is a masterpiece of sounds and textures, from the astonishing vocal effects of the plunger-muted trumpets and trombone (seeming to speak messages just beyond the range of understanding) to the soaring romantic alto of Charlie Mariano. Boiling beneath it all are the teeming, congested rhythms of Mingus and drummer Dannie Richmond and the deep morass of tuba and baritone saxophone. This is one of the greatest works in jazz composition, and it's remarkable that Mingus dredged this much emotional power from a group of just 11 musicians.
**
Bass, Piano- Charlie Mingus
Drums- Dannie Richmond
Guitar- Jay Berliner
Piano- Jaki Byard 
Alto Sax- Charlie Mariano
Soprano, Baritone Sax, Flute- Jerome Richardson
Tenor Sax, Flute- Dick Hafer
Trombone- Quentin Jackson
Trumpet- Richard Williams , Rolf Ericson
Tuba- Don Butterfield
**
A1.Solo Dancer (Stop! Look! And Listen, Sinner Jim Whitney!)   6:39
A2. Duet Solo Dancers (Heart's Beat and Shades in Physical Embraces)   6:25
A3. Group Dancers ((Soul Fusion) Freewoman and Oh This Freedom's Slave Cries)   7:00
B. Trio and Group Dancers (Stop! Look! And Sing Songs of Revolutions!)   17:25
- Single Solos and Group Dance (Saint and Sinner Join in Merriment on Battle Front)   
- Group and Solo Dance (Of Love,Pain,and Passioned Revolt,Then Farewell,My Beloved,'til It's Freedom Day)
**

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Charles MINGUS - Nostalgia In Times Square / The Immortal 1959 Sessions (Flac)

Charles MINGUS - Nostalgia In Times Square / The Immortal 1959 Sessions (Flac)
1979 Issue. CBS 88337

Jazz

Nostalgia in Times Square holds special attention because, in a sense, it's all new. Side one contains four previously unreleased pieces (the twisting "GG Train" and the satirical "Girl of My Dreams" are best), while the remainder of the album presents unedited versions of ten compositions that were shortened for inclusion on Mingus, Ah Um and Mingus Dynasty. Since the most famous songs ("Better Git Hit in Your Soul," "Goodbye, Porkpie Hat," "Fables of Faubus") from the 1959 sessions are omitted, Nostalgia in Times Square will hardly replace the earlier LPs. Still, it's nice to hear how strong some of the rest of the music was as originally realized. It's also interesting to ponder the whole question of editing. "Open Letter to Duke," "Boogie Stop Shuffle" and "Jelly Roll" may have been tightened up to bring about the transitions and climaxes more rapidly, but none were edited into posterity. On the other hand, we only have Passions of a Man's "Wednesday Night Prayer Meeting" in an edited state, but it's so great that way, who cares?
By Bob BLUMENTHAL.
**
These are recordings from the same Columbia sessions that brought us "Mingus Dynasty" and "Ah Um" in 1959. The first four tracks are unreleased tunes that did not appear on either of those records. The remaining tunes are longer, unedited versions of the original tunes. On some of them you can hear false starts, and banter with the recording engineers. This double LP was released in 1979, the same year Mingus died.
**
Charles Mingus- Bass
Maurice Brown- Cello (tracks: C2) , Seymour Barab (tracks: C2)
Dannie Richmond- Drums
Jerome Richardson- Flute (tracks: B4,)
Horace Parlan- Piano
Nico Bunick- Piano (tracks: B4)
Roland Hanna- Piano (tracks: C2, C3, D2, D3)
Teddy Charles- Vibraphone  (tracks: B4, D2, D3)
John Handy , Shafi Hadi- Alto Sax
Jerome Richardson- Bariton Sax (tracks: A4, B4, D2, D3)
Benny Golson- Tenor Sax (tracks: A4, D2) , Booker Ervin
Jimmy Knepper , Willie Dennis- Trombone
Richard Williams- Trumpet (tracks: B4, D2, D3)
**
A1. Pedal Point Blues   6:28
A2. GG Train   4:37
A3. Girl of My Dreams   4:08
A4. Strollin'   4:33
B1. Jelly Roll   6:15
B2. Boogie Stop Shuffle   4:59
B3. Open Letter to Duke   5:49
B4. Never Now Know How   4:12
C1. Birdcalls   6:18
C2. Slop   6:12
C3. Things Ain't What They Used To Be   7:35
D1. Pussy Cat Dues   9:13
D2. Song With Orange   6:37
D3. Gunslinging Bird   5:03
**
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Charles MINGUS - Blues & Roots 1960

Charles MINGUS - Blues & Roots 1960
SD 1305

Jazz

Bassist Charles Mingus was always ready for a good fight. In the liner notes to this disc, Mingus says he wanted to respond to critics who said he didn't swing enough. And reply he did. Mingus gave whoever these absurd quibblers were some of the most ecstatic blues ("Moanin'" and "Cryin Blues"), gospel ("Wednesday Night Prayer Meeting"), and Dixieland ("My Jelly Roll Soul") the jazz world has ever heard. Along with his striking original compositions, the instrumental combination in Mingus's nonet remains unconventional: the frontline included four saxophonists and two trombonists without the counterweight of a trumpeter. The leader's sliding-octave bass lines and percussive slaps are totally rollicking, and the wild abandon in the group's playing is irrepressible.
By Aaron Cohen.
**
This album is similar in feeling to the great "Mingus Ah Um." Overall, it highlights Mingus' blues/gospel influences. "Wednesday Night Prayer Meeting," (5:39) for example, in the tradition of songs like "Better Git It Into Your Soul"("Mingus Ah Um") and "Slop ("Mingus Dynasty")." Unfortunately, this driving piece is flawed by (the otherwise-excellent) Horace Parlan's repetitive piano--for a few seconds it seemed like the album was stuck. The song is rooted in a deep mix of trombone (Willie Dennis), tenor sax (the amazing Booker Ervin), and bass, and punctuated by Mingus' trademark shouts.
"Cryin' Blues is also steeped in Mingus' bass (excellent solo work and well-recorded) and the soulful anchor of Pepper Adams' baritone sax. Parlan lays down some bluesy riffs and Jackie McLean leads the way home with his solo on this five-minute cut. "Moanin'" (7:57) and "Tensions" (6:27) are blues-oriented pieces, dominated by Mingus' intense, virtuoso bass, a strong solo by Ervin, and fiery ensemble playing.

"My Jelly Roll Soul" (6:47) is a light, zesty, and almost tongue-in-cheek cut inspired by early jazz pianist Jelly Roll Morton. Dannie Richmond lays down some brushwork and other flourishes. "E's Flat Ah's Flat Too (6:37) is kind of an amalgamation of the previous cuts, with Mal Waldron taking over on piano. Mingus' compositions and bass playing are the highlights here There's not quite as much solo work by the other musicians compared to other Mingus albums, although there's enough to keep things lively and interesting. I don't have the original album, but I didn't notice anything exceptional about the remastering except to note that Mingus is recorded very well. I mention this only because there's another slightly more expensive "Blues and Roots" available at Amazon. (See Amazon CD: Wea/Atlantic/Rhino; ASIN: B00000348B. There is no mention of remastering but there are five alternate takes.) Mingus notes that he taught the compositions to the group by ear rather than as written music, "so they'd play the compositional parts with as much spontaneity and soul as they'd play a solo." He and the ensemble obviously succeed. "Ah Um" is probably the better album, but this is very much worth having.
By M. Allen Greenbaum.
**
Charles Mingus- Bass
Dannie Richmond- Drums
Horace Parlan, Mal Waldron- Piano
Jackie McLean, John Handy- Alto Sax
Pepper Adams- Bariton Sax
Booker Ervin- Tenor Sax
Jimmy Knepper, Willie Dennis- Trombon
**
A1. Wednesday Night Prayer Meeting 5:39
A2. Cryin' Blues 4:58
A3. Moanin' 7:57
B1. Tensions 6:27
B2. My Jelly Roll Soul 6:47
B3. E's Flat Ah's Falt Too 6:37
**
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Charles MINGUS - Mingus Ah Um 1959

Charles MINGUS - Mingus Ah Um 1959
1989 Issue. LSP 982 150-1

Jazz

The first track says it all: "Better get it into Your Soul." This is soul-stirring, head-thumping, body-shaking stuff. Insistent, penetrating, simply inspired. Hard to compare it to anything, really, although it has elements of bebop, blues, gospel, and that crazy no-holds-barred spirit of funk. One of my top ten jazz cuts.
The famous "Goodbye Porkpie Hat," a tribute to Lester Young, is a quieter blues-based piece, centered around soulfully played sax. Emotionally, it's both sad and affectionate. "Boogie Stop Shuffle" sounds like the soundtrack to some weird 60's spy movie --with Mingus, expect the unexpected! Excellent piano by Horace L. Parlan, Jr. driven along by the lionesque Mingus on bass. Self-portrait in "Three Colors" and "Open Letter to Duke" feature brilliant Ellingtonian arrangements and warm colors. The latter piece has superb boppish sax-riffs, settles into a richly colored niche, and then breaks into some rhythmic and melodic audacity.

Mingus' brilliant, daring "Fables of Faubus" retains its mocking tone, but is less political than the vocal version on the magnificent "Live at Antibes." It's an interesting contrast to his bold (courageous, even) attack on Governor Faubus in the live version, and, again, shows Ellington's influence in its beautifully complex arrangement. "Pussy Cat Dues" and "Jelly Roll" deliver a New Orleans laid-back sound. On `Dues,' Mingus lays down some languid, monumental bass effects. It's thick luxurious sleaze, sliced through with the purity and strength of the sax.

One of the best of the studio albums, although, frankly, I like them all. An innovator, an explorer, a trailblazer, he is truly a genius. You'll find more and more to appreciate with every listening. Most highly recommended to the Mingus fan as well as the most hesitant newcomer
By M. Allen Greenbaum.
**
One of the five essential Mingus albums to own, and even if you are not a jazz fan this is still worthy of being in any comprehensive collection. The opening track, "Better Git It In Your Soul," rushes along at a furious pace and then there is a wonderful change of tempo into an a cappella and handclap pause. It rolls on, of course, but the nature of this track reflects the nature of Mingus who never failed to experiment. The personnel comprises John Handy III, Shafi Hadi and Booker Ervin (saxophones), Horace Parlan Jr (piano), Willie Dennis and James Knepper (trombones) and Charles Richmond (drums). Mingus whoops, shouts and holds it all together and then turns the pace majestically on numbers such as "Goodbye Pork Pie Hat.
**
Charles Mingus- Bass, Piano
Shafi Hadi- Alto and Tenor Sax
Dannie Richmond - Drums
Horace Parlan Jr- Piano
Booker Ervin- Tenor Sax
Willie Dennis- Trombon
Jimmy Knepper- Trombon
John “Captain John” Handy- Alto and Tenor Sax, Clarinete
**
A1 Better Git It in Your Soul  7:23
A2 Goodbye Pork Pie Hat  5:44
A3 Boogie Stop Shuffle  5:02
A4 Self-Portrait in Three Colors  3:10
A5 Open Letter to Duke  5:51
B1 Bird Calls  6:17
B2 Fables of Faubus  8:13
B3 Pussy Cat Dues  9:14
B4 Jelly Roll  6:17
**
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Charles MINGUS - Three Or Four Shades Of Blues 1977

Charles MINGUS - Three Or Four Shades Of Blues 1977

Jazz

Even in the latter stages of his career the notoriously restless Mingus never stopped searching for new ways to interpret and present his compositions. As befits one with such a mercurial muse, his artistic destinations were often surprising, but seldom as surprising as on THREE OR FOUR SHADES OF BLUES. Here he reconfigures (and redefines in the process) some of the best-known tunes from his daunting canon, tackling them in a more contemporary style. In 1977, this meant the enlistment of guitarists Larry Coryell and Philip Catherine to add some burning, fusion-friendly licks to "Better Git Hit in Your Soul" and frenetic amphetamine-flamenco riffs to "Goodbye Porkpie Hat." It's to Mingus' credit as arranger and bandleader that these updates never seem contrived and still don't sound dated. It's just one more way of viewing the revolutionary work of this compositional giant. THREE OR FOUR SHADES is exhilarating in its fresh outlook and unfettered passion.
**
Creative disarray is so central to the Mingus image and the Mingus ensemble approach that the idea for this album isn't as risky as it may first appear. A few Atlantic artists plus a couple of other veterans join with the current Mingus quintet for five typically exhortatory performances. The presence of guitarists Larry Coryell, Philip Catherine and John Scofield is the real surprise, yet each is absorbed into the Mingus orbit with little difficulty.

This is a fairly routine album in light of past Mingus achievements. For instance, "Better Git Hit in Your Soul," which finds Coryell and tenor saxophonist Ricky Ford getting hot over the racing gospel atmosphere, simply doesn't make it next to earlier performances of the piece. "Goodbye, Porkpie Hat" suffers similarly but has more interest thanks to the Django Rienhardt-like feel of Coryell and Catherine on acoustic guitars and George Coleman's eloquent alto. Of the three new pieces, two are straight-blowing tracks with mixed results. "Noddin Ya Head Blues," slow and Monkish, is long on atmosphere and too long on Coryell; "Nobody Knows" is more notable for its reworking of an old spiritual into uptempo be-bop than for the solos by Sonny Fortune, trumpeter Jack Walrath and the others.

The multitextured title piece saves the album. A compendium of blues approaches, "Three or Four Shades" pays homage to Ellington, Basie and Parker via vintage Mingus writing and then slips in some "Caucasian folk blues" (actually the "Wedding March") for off-the-wall humorous effect. This track also has the most consistent solos, with Ford, Walrath, Coleman, Scofield and pianists Bob Neloms and Jimmy Rowles all taking concise, meaty turns. Mingus, who employs a second bassist on all tracks, sounds strong throughout, but he obviously didn't have an album's worth of inspiration on the level of "Three or Four Shades of Blue."
By BOB BLUMENTHAL.
**
Band;
Charles Mingus- (Acoustic Bass);
Ricky Ford- (Tenor Saxophone);
Jack Walrath- (Trumpet);
Bob Neloms- (Piano);
Dannie Richmond- (Drums).
+
George Coleman- (Alto & Tenor Saxophones);
Sonny Fortune- (Alto Saxophone);
Jimmy Rowles- (Piano);
Larry Coryell, Philip Catherine, John Scofield- (Guitar);
George Mraz, Ron Carter- (Acoustic Bass);
Dannie Richmond- (Drums).
**
01.Better Get Hit In Your Soul    4:39
02.Goodbye Pork Pie Hat    7:13
03.Noddin' Ya Head Blues    10:09
04.Three Or Four Shades Of Blues    12:12
05.Nobody Knows   10:35
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Charles MINGUS - Mingus Dynasty 1959

Charles MINGUS - Mingus Dynasty 1959

Jazz

Started shortly after bassist/leader Charles Mingus' death in 1979, Mingus Dynasty has featured many of his top alumni in spirited concerts and recordings. Not all of the records come up to the level of Mingus' best performances (the bassist is clearly missed), but many recapture his spirit. The group expanded for a 1988 concert to temporarily become Big Band Charlie Mingus. Among the musicians who have participated in the Mingus Dynasty project (which has resulted in recordings for Elektra, Atlantic, Soul Note, and Storyville) were Jimmy Owens, Randy Brecker, Richard Williams, Jon Faddis, Jimmy Knepper, John Handy, Joe Farrell, Ricky Ford, George Adams, David Murray, Clifford Jordan, Nick Brignola, Don Pullen, Sir Roland Hanna, Jaki Byard, Dannie Richmond, Billy Hart, Kenny Washington, Charlie Haden, Aladar Pege, Mike Richmond, Reggie Johnson, Reggie Workman, and Richard Davis.
By Scott Yanow, All Music Guide.
**
Charles Mingus- Bass,
Dannie Richmond- Drums -
Roland Hanna- Piano -
Benny Golson , Booker Ervin , Jerome Richardson , John Handy- Reeds 
Jimmy Knepper- Trombone -
Don Ellis , Richard Williams- Trumpet
Teddy Charles- Vibraphone
**
A1. Slop 6:16
A2. Diane 7:32
A3. Song With Orange 6:50
A4. Gunslinging Bird 5:14

B1. Things Ain't What They Used To Be 7:36
B2. Far Wells, Mill Valley 6:14
B3. New Now Know How 4:13
B4. Mood Indigo 8:13 
B5. Put Me In That Dungeon 2:53
**
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Charles MINGUS - Pithecanthropus Erectus 1956

Charles MINGUS - Pithecanthropus Erectus 1956

Jazz

One of the great figures in modern jazz, bassist Charles Mingus was the ultimate triple threat: a master of his instrument, a jazz composer of the first rank, and an insightful leader of a series of extraordinary and incendiary bands. Raised in Los Angeles, Mingus was a devotee of Duke Ellington, whose compositional style had an unsurpassed effect on the young composer. As a player, however, Mingus was drawn to his contemporaries, who included Thelonious Monk, Bud Powell, Charlie Parker, and Max Roach (indeed, Roach and Mingus co-owned their own Debut Records during the '50s). Perhaps his greatest contribution was bridging the gap between those two generations: in Mingus's music, one could always explicitly hear the continuity between the big bands and the bebop era, the affinity between the romantic and the modern. Although he had recorded extensively for numerous labels including his own Debut Records, Mingus's relationship with Atlantic would yield many of his greatest recordings. Cut in 1956, Pithecanthropus Erectus was his first date for the label, and it provided something of a breakthrough for Mingus in his use of extended compositions: the 10-minute title track, and the lovely "Profile of Jackie," are among the bassist's finest recordings. The band is notable for the inclusion of the under-recorded tenor saxophonist J.R. Monterose.      
By Fred Goodman.
** 
This is a showcase for Mingus the bassist as well as Mingus the composer. His sound is recorded extremely well, and his technique, sense of rhythm, and improvisation are just astonishing. I've never heard his bass so well before.

He begins the title cut with a 4-bar motif that's almost as compelling as "A Love Supreme." He works this motif with virtuosity, and he is especially effective in his interplay with the pianist, Max Waldron. While some may see this as a harbinger to free jazz, it's really quite accessible, and the "wild" sounds return logically to the theme. Emotionally gratifying; it's one of his best works.

The big disappointment here is "A Foggy Day (in San Francisco)." Mingus places various urban sound effects, which "The Penguin Guide to Jazz" calls superficially jokey." To me, it's just simply annoying. The repeated taxi horn sounds, etc. are just done too often. Were it not for the overall quality of the other music, I'd take away a * from this CD. Foggy Day does feature some nice sax work (Jackie McLean, J.R. Monterose), swinging bass, and some whistle blowing a la 70's and 80's funk. (Was Parliament listening?).

"Profile of Jackie" is a brief (3:07) mood piece, McLean nicely interpolates "Chelsea Bridge" and his playing is soulful and sharp. It's a beautiful ballad with nice comping by Mingus, and Willie Jones' deft touch on drums.

Love Chant is the longest piece here (14:56) and, I think, is overlooked in the Mingus discography. There's some very progressive bass work propelling an initially slightly cool jazz/modal sound. The first third features interesting percussive effects, effective abstractions on the piano, and mellow tones on the horns. After this, the beat picks up (sometimes veering into some hard bop accents), and the horns soar above Mingus' beautiful playing. Once again, the Mingus/Waldron improvisations are excellent.

Again, this is an excellent CD, even with the somewhat overdone "Foggy Day." Not sure what they did, but it has an almost live sound to it that I loved. Brief liner notes by Nat Hentoff, and more extended notes on each cut by Mingus enhance one's appreciation of each track. Very highly recommended!
By M. Allen Greenbaum.
**
Charles Mingus- Acoustic Bass,
Willie Jones- Drums,
Also:
Jackie McLean, Mal Waldron, J.R. Monterose.
**
01. Pithecanthropus Erectus (Mingus)   10:36
02. A Foggy Day (Gershwin, Gershwin)   7:50
03. Profile of Jackie (Mingus)   3:11
04. Love Chant (Mingus)   14:59
**
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Charles MINGUS - East Coasting By Charlie Mingus 1957

Charles MINGUS - East Coasting By Charlie Mingus 1957

Jazz

This sextet session dates from 1957, when the volcanic bassist and composer was first assembling his Jazz Workshop. Mingus had already put together the core of the band that would reach its summit two years later with Mingus Ah Um, including saxophonist Shafi Hadi, trombonist Jimmy Knepper, and drummer Dannie Richmond, who would be with Mingus's bands for the next two decades. The music has Mingus's distinct stamp, the rhythmic aggressiveness, sudden time (and mood) shifts, contrapuntal themes, and a palette of sounds that reaches back through bop to early jazz for the vocalizing, plunger-muted horns. His bass often sounds like articulate thunder as he presses his musicians toward a unique musical vision. Completing the group are two striking soloists: the seldom-heard trumpeter Clarence Shaw, best known for his work on Mingus's contemporaneous New Tijuana Moods, who combines thoughtful hesitancy and melodic daring; and pianist Bill Evans, whose distinctive musical presence and lyric imagination add to Mingus's often dense harmonies. The turbulent "West Coast Ghost" and the emotionally charged "Celia" stand out. --Stuart Broomer

The composer and bass player Charles Mingus recorded East Coasting for Bethlehem in 1957, in between such classics as Tijuana Moods (RCA) and Mingus Ah Um (Columbia). In addition to featuring an early version of "Celia," along with some numbers he never recorded again, East Coasting is notable for the presence of pianist Bill Evans, who briefly worked for Mingus before joining Miles Davis for the landmark Kind Of Blue.
**
Charles Mingus was one of the great jazz composers and bassists. His career began with stints in the bands of Kid Ory and Louis Armstrong in the early `40s when he was barely out of his teens. He went on to become a monster in the jazz world, both as a musician and as a larger-than-life personality known for his anger at racial injustice and his one-man war with the music industry.

His 1959 masterpiece, Mingus Ah Um, is an essential in any jazz collection, and Pithecanthropus Erectus, Mingus Mingus Mingus Mingus Mingus and The Black Saint and the Sinner Lady are also required listening. East Coasting, recorded in August, 1957, is not as well known, but its resurrection as part of Shout! Factory's reissue program of classic albums from the catalog of the long defunct Bethlehem record label has its share of masterful moments, compositionally and in its arrangements, that should bring it a deserved reevaluation and overdue recognition.

Many of the standard Mingus musical tricks are on display here, from the finely crafted melodic statements to the free-flowing group improvisations. "Celia" foreshadows "Self Portrait in Three Colors" on Mingus Ah Um, the title track cooks with fine-tuned bop precision, and "West Coast Ghost" purrs with echoes of Ellington but with that cross-horn interplay so distinctive to the bassist's writing. The opening harmonies of "Conversation" are almost Oliver Nelson-ish, but devolve soon enough into the trademark phrase trading commonplace in Mingus' music.

The sextet lineup includes Mingus stalwarts Jimmy Knepper on trombone and Dannie Richmond behind the drums, while the piano chair is occupied by Bill Evans just months before he joined Miles Davis for what would be a seminal but short lived partnership ultimately yielding Kind of Blue.
By Jim Newsom.
**
Charles Mingus' East Coasting, originally released in 1957, was overshadowed by the session that preceded it, New Tijuana Moods (which wasn't released until 1962), and 1959's monumental Mingus Ah Um, both of which used essentially the same musicians (Jimmy Knepper on trombone, Clarence Gene Shaw on trumpet, Shafi Hadi (aka Curtis Porter) on tenor and alto sax, Dannie Richmond on drums, Mingus on bass, and for East Coasting, a young, pre-Miles Davis Bill Evans on piano). But although East Coasting is both more subdued and mainstream, at least for Mingus, than either of those more celebrated albums, it has more than enough of its own charm to go around. The opening cut, a version of the 1930s standard "Memories of You," seems a bit out of place on this set, although it exhibits a marvelous and haunting smoothness, and proves that when Mingus chose to, he could play the mainstream game as well as any of his contemporaries. The center of this set is undoubtedly the ten-minute-plus "West Coast Ghost," which is as autobiographical as it is impressive. Mingus, of course, wasn't particularly "East Coast" or "West Coast" in his jazz leanings, being really more of his own coast altogether, but on East Coasting he comes as close as he ever would to reconciling his sense of post-bop jazz with the general public's perception of it, making this one of his most accessible albums. This reissue adds alternate takes of "Memories of You" and "East Coasting."
By Steve Leggett, All Music Guide.
**
Clarence Shaw- Trumpet
Jimmy Knepper- Trombone
Curtis Porter- Alto , Tenor Sax
Bill Evans- Piano
Charles Mingus- Bass
Dannie Richmond- Drums
**
01. Memories Of You (Take 7) 4:26
02. East Coasting (Take 4) 5:13
03. West Coast Ghost (Take 6) 10:28
04. Celia (Take 5) 7:54
05. Conversation (Take 16) 5:28
06. Fifty-First Street Blues (Take 4) 5:48
07. East Coasting (Alternate Take 3) 5:30
08. Memories Of You (Alternate Take 3) 4:40
**
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Charles MINGUS - Mingus Mingus Mingus Mingus Mingus 1963 (Flac)

Charles MINGUS - Mingus Mingus Mingus Mingus Mingus 1963
Label: Impulse (LP)
Tracks #2 and 3, recorded in New York on January 20, 1963
Tracks #1 and 4-7, recorded in New York on September 20, 1963
Reissued : 2006 CD Impulse!

Jazz

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. The titles are altered as well — "II B.S." is basically "Haitian Fight Song" (this is the version used in the late-'90s car commercial); "Theme for Lester Young" is "Goodbye Pork Pie Hat"; "Better Get Hit in Your Soul" adds a new ending, but just one letter to the title; "Hora Decubitus" is a growling overhaul of "E's Flat Ah's Flat Too"; and "I X Love" modifies "Nouroog," which was part of "Open Letter to Duke." There's also a cover of Duke Ellington's "Mood Indigo," leaving just one new composition, "Celia." Which naturally leads to the question: With the ostensible shortage of ideas, what exactly makes this a significant Mingus effort? The answer is that the 11-piece bands assembled here (slightly different for the two separate recording sessions) are among Mingus' finest, featuring some of the key personnel (Eric Dolphy, pianist Jaki Byard) that would make up the legendary quintet/sextet with which Mingus toured Europe in 1964. And they simply burn, blasting through versions that equal and often surpass the originals — which is, of course, no small feat. This was Mingus' last major statement for quite some time, and aside from a solo piano album and a series of live recordings from the 1964 tour, also his last album until 1970. It closes out the most productive and significant chapter of his career, and one of the most fertile, inventive hot streaks of any composer in jazz history.
By Steve Huey. AMG.
**
For bassist/composer Charles Mingus, many of the leading edge trends of the late '50s-early '60s did not significantly alter his musical outlook--an outlook he had been nurturing since the 1940s when he first made his mark as Baron Mingus. "Mingus, The Composer" was Charlie Parker's affectionate commission for the Californian bassist, who first made waves with "Mingus Fingers" for Lionel Hampton's big band in 1948. As a result, when Miles came along with fresh notions of modality, Mingus could point to his own decade-long work with pedal point. Likewise, when Ornette Coleman introduced his free form, non-chordal approach to blues and modern jazz, Mingus responded with his legendary Booker Ervin/Eric Dolphy/Ted Curson/Dannie Richmond ensemble (MINGUS AT ANTIBES), extending on ideas he'd been developing for years ("Pithecanthropus Erectus").

Part of what makes MINGUS MINGUS MINGUS MINGUS MINGUS such a rich, enduring, listening experience is in the way it delineates the major themes and streams in Mingus' writing, and all of his idiomatic gestures and tonal colors. The rough-hewn polyphony of "II B.S." (a kissing cousin of "Haitian Fight Song") is driven along by the composer's indomitable, thrusting bass line, reflecting the experience of early New Orleans ensembles. Multiple voices syncopate to create a rich melodic fabric and ferocious rhythmic intensity, spotlighting the sanctified tenor voice of Booker Ervin. On his own "I X Love" and a brilliant cover of Ellington's "Mood Indigo," Mingus displays a genius for film noir textures and elaborate timbral contrasts worthy of the Duke.

"Celia" also begins with Ellingtonian plumage, but in its use of contrasting tempos and wildly divergent reed and brass voicings (from tuba and baritone sax on up to flutes and oboes) Mingus zeroes in on his own particular brand of emotional turbulence. In a corresponding mode, there's his rocking arrangement of "Better Get Hit In Yo' Soul," with its fleet 6/8 pulse, old time hosannas and the roaring commentary of an unruly congregation. Equally famous is Mingus' tender portrayal of Lester Young on "Goodbye Porkpie Hat," with its piping reeds, moaning brass and signature Ervin solo. Mingus announces "Hora Decubitus" with some resounding double-stops, before launching into a fierce display of swing and ensemble interplay, culminating in some Eric Dolphy fireworks. And in a remarkable coda to the original sessions, there's the dark poetry of an unissued "Freedom," with its evocation of work songs, the liberating beat of modern jazz, and the joyous release of the blues.
From CD Universe.
**
Charles Mingus- (Piano, Bass);
Jerome Richardson- (soprano & Baritone Saxophones);
Eric Dolphy- (Alto Saxophone, Flute);
Charles Mariano- (Alto Saxophone);
Dick Hafer- (Tenor Saxophone, Flute);
Booker Ervin- (Tenor saxophone);
Rolf Ericson, Eddie Preston, Richard Williams - Trumpets;
Britt Woodman, Quentin Jackson- (Trombones);
Don Butterfield- (Tuba);
Jaki Byard- (Piano);
Jay Berliner- (Guitar);
Walter Perkins, Dannie Richmond- (Drums).
**
Side One:

A1- II B.S.  4:43
A2- I X Love  7:00
A3- Celia  6:10
A4- Mood Indigo (Duke Ellington/Barney Bigard)  4:37

Side Two:

B1- Better Get Hit in Yo' Soul  6:30
B2- Theme for Lester Young  5:36
B3- Hora Decubitus  4:40
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Charles MINGUS - Mysterious Blues 1960

Charles MINGUS - Mysterious Blues 1960
Label: Candid
Audio CD (August 1, 1990)
Recorded at Nola Penthouse Studios, N.Y.
on October 20, 1960 and November 11, 1960.

Jazz

This is the last of four albums comprising all of Charles Mingus's work for the Candid label, and it contains one previously unsuspected (and, of course, ...    Full Descriptionunissued) alternate take of great interest. For the rest, it gathers together material that was only
**
For all Charles Mingus’s reputation as composer, arranger and bandleader, he was also a trail-blazing bassist. Plangent of tone, melodically daring and rhythmically momentous, here we find Mingus gigging a deep swinging groove on a selection of standards and impromptu blues.      

Of course, our title’s a misnomer. Mingus plays it ‘cool’? Mingus never played it cool in his life. He was a man of raging passion, pride and prejudice whose music was always infused with a tumultuous sense of commitment, whatever he was playing. So, when we say ‘cool’ perhaps we mean that the current selection is other than what may be termed hardcore Mingus. Not here will you find the magnificent, sprawling multi-themed opuses aspiring to Ellingtonian grandeur of the ‘Ah Um’ (1959) or ‘The Black Saint And The Sinner Lady’ (1963) albums, nor the shouting, roaring return to the righteousness of the ‘Blues And Roots’ (1959) set, nor the ragged Charlie Parker homage ‘Bugs’ (1960), nor the bold Ornette Coleman-flavoured experiments of pieces like ‘What Love?’ (1960).

What we do have - selected from the catalogue of Candid Records, for whom Mingus recorded for only a few months in 1960 - is Mingus as leader and pervading spirit, driving his musical compatriots through a selection of standards and impromptu blues. No dense charts to navigate, no tricky mid-piece changes of tempo, just a deep swinging groove to play on and some great musicians to do it with.

It’s worth remembering that for all Charles Mingus’s reputation as composer, arranger and bandleader (and also, thanks to his outrageous autobiography ‘Beneath The Underdog’, as a swaggering, pathological egomaniac), he was also a trail-blazing bassist. Plangent of tone, melodically daring and rhythmically momentous, had he never written a note as a composer, he would be remembered as one of the key bass players in the whole history of jazz. Here we hear Mingus, largely free from the responsibility of his compositional genius, digging in on his instrument, inspiring his musicians and playing gloriously.


1. Mysterious Blues
An elegant chorus from pianist Tommy Flanagan heralds a minimally conceived, bouncy 12-bar. Featuring stars from an earlier generation of jazz (Roy Eldridge on trumpet and Basie’s drummer from the ‘30s Jo Jones) alongside players from Mingus’s current band (Eric Dolphy on alto, Jimmy Knepper on trombone), it’s fascinating to compare Eldridge’s taut, progressive swing conception with Dolphy’s extraordinarily playful Parker-and-beyond approach. What attracted Eldridge to play with a giant of the modern scene like Mingus? Nat Hentoff overheard Eldridge saying this to the bass man. ‘I wanted to find out what bag you’re in. Now I know you’re in the right bag. I’m not naming names, but a lot of them are so busy being busy that they forget the basics. They don’t get all the way down into the music. You did baby.’

2. Wrap Your Troubles In Dreams
A joyous performance of a vintage standard introduced by Bing Crosby in 1931. Mingus states the theme, Tommy Flanagan takes the bridge followed by Mingus again, then two typically neat and witty choruses from Eldridge with harmon mute plunged tight into his horn. An entire chorus of drum solo from Jo Jones precedes Eldridge’s soaring final statement on open horn. Listeners with a keen sense of pulse may detect the beat go awry for a few bars after Jones’s chorus though better perhaps to concentrate on the improvised musical ‘conversation’ between Eldridge and Mingus in the final moments, a technique Mingus and Dolphy utilised elsewhere (e.g., ‘What Love?’) to extraordinary effect.

3. Vassarlean
The single piece of characteristic Mingusonia in this collection. Also recorded as ‘Weird Nightmare’ in ’46 and ‘Smooch’ with Miles Davis in ’53 (like Ellington’s, Mingus’s themes would crop up in different guises throughout his career), here it was named after a rich college girl that Charles perceived to be a potential lover as well as a prospective patron of his art. Seductive and yet essentially melancholy of tone, trumpeter Lonnie Hillyer does tender justice to the aching melody (reminiscent in places of the song ‘You Don’t Know What Love Is’) while Booker Ervin on tenor and Eric Dolphy on bass clarinet sketch complimentary lines of a suitably dark hue.

4. Me And You Blues
Low down and dirty, Eldridge is on declamatory form and treated to an old-style stop-time chorus from the rhythm section mid-way through. Tommy Flanagan refuses to blow his cool through his piano solo, despite a decidedly assertive shuffle from Mingus. Roy returns to scale further heights, Jones whips up behind him and the coda has a little more of that bass and trumpet ‘conversation’ stuff. The low-register parp from Eldridge at the end reflects the relaxed earthy mood of the music.

5. Body And Soul
Simply gorgeous. The harmonies for this 1930 Johnny Green tune had become a jazz musician’s obligatory assault course since Coleman Hawkins’s famous 1939 version and Roy negotiates them with the knowing insouciance of a master in two separate two-chorus episodes, one at the opening, the other at the end. Following a double-time break shared between Eldridge and Mingus, Eric Dolphy lets fly with a riotous solo of great virtuosity, beauty and humour. Both Jimmy Knepper and Tommy Flanagan make telling contributions with Jo Jones taking intelligent care of the dynamics; notice the two shifts of gear during Flanagan’s solo. Mingus’s unaccompanied solo is a fine example of his horn-like melodic conception.

6. R and R
The coolest groove in this collection – listen to Jones’s ride cymbal and Mingus’s walking at the top of the track - and an original Eldridge blowing vehicle based on the chords of George Gershwin’s ‘I Got Rhythm’. Once more Roy represents the voice of the sly elder and Dolphy the brilliant, respectfully mischievous voice of the new generation.

7. Stormy Weather
After Mingus’s fake introduction (it was a studio recording), we have the least adulterated glimpse – in this collection - of the extraordinary Eric Dolphy. He lays the famous Harold Arlen tune out with great poise, making much of the blurry ‘blue’ notes in the melody and the space in this piano-less quartet, before addressing the business of improvisation with astounding rigour, intelligence and imagination. Note also droll interchanges between trumpeter Ted Curson and Mingus in a recording that probably comes the closest on this album to capturing the essence of a typical Mingus-led small group performance of the period.
By Chris Ingham. 
**
Charles Mingus- (Acoustic bass),
Eric Dolphy- (Alto saxophone, bass clarinet, flute),
Charles McPherson- (Alto saxophone),
Booker Ervin- (Tenor saxophone),
Roy Eldridge, Ted Curson, Lonnie Hillyer- (Trumpets),
Jimmy Knepper- (Trombone),
Tommy Flanagan, Nico Bunick- (Piano),
Jo Jones, Dannie Richmond- (Drums).
**
01. Mysterious Blues 8:45
02. Wrap Your Troubles In Dreams - take 5 3:53  
03. Body And Soul - take 2 10:49
04. Vassarlean 6:40   
05. Re-Incarnation Of A Love Bird - 1st version - take 4 9:16 
06. Me And You Blues 9:51
07. Melody From The Drums 9:22
**
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