05.Shoes of the Fisherman's Wife Are Some Jive Ass Slippers
06.Far Wells, Mill Valley
07.Mood Indigo.
Maurice Brown , Seymour Barab (cello)
Jerome Richardson (flute, saxophone)
Bobby Jones (reeds, tenor saxophone)
Danny Banks (reeds)
John Handy, Benny Golson, Booker Ervin (saxophone)
Dick Williams, Snooky Young, Jimmy Nottingham (trumpet)
Julius Watkins (French horn)
Eddie Bert, Jimmy Knepper, Urbie Green (trombone)
John Foster, Roland Hanna (piano)
Theodore Cohen (vibraphone)
Dannie Richmond (drums).
All music is from the 1959 Columbia release MINGUS DYNASTY, except for "The Shoes Of The Fisherman's Wife Are Some Jive Ass Slippers" which is taken from Mingus' 1971 recording LET MY CHILDREN HEAR MUSIC.
Most of the Mingus Dynasty, which features the same lineup as Mingus Ah Um and has a similar feel but is less driving. Inexplicable inclusion of "Shoes of the...." from Let My Children Hear Music, recorded twelve years later. All great music. ~ Michael Katz
01.Better Git It In Your Soul 02.Goodbye Pork Pie Hat 03.Boogie Stop Shuffle 04.Self-Portrait in Three Colors 05.Open Letter to Duke 06.Bird Calls 07.Fables of Faubus 08.Pussy Cat Dues 09.Jelly Roll 10.Pedal Point Blues 11.GG Train 12.Girl of My Dreams.
John Handy — alto sax, clarinet, tenor sax Booker Ervin — tenor sax Shafi Hadi — tenor sax, alto sax Willie Dennis — trombone Jimmy Knepper — trombone Horace Parlan — piano Charles Mingus — bass, piano Dannie Richmond — drums.
Mingus Ah Um is one of the supreme works of bassist Charles Mingus. Recorded in 1959 on Columbia Records, Mingus Ah Um built upon bebop conventions to create a masterpiece, at times roiling and dissonant, and at times pristinely beautiful. In the mid 1950s, Mingus began composing and performing with a rotating band he called the "Charles Mingus Jazz Workshop." Mingus Ah Um marks the height of this ensemble's accomplishments. Many of the pieces on the album are some of the most recognizable songs in jazz, and their performances are at once highly arranged, and yet loose and seemingly improvised. The opening track, "Better Get it in Your Soul," is a jubilant gospel song. Over infectious blues riffs, the instrumentalists occasionally stray from the choir with rapturous outbursts. Throughout the statements of the melody, Mingus himself can be heard intoning like a preacher, singing "oh yes I know!" and "Hallelujah!" "Goodbye Porkpie Hat" is a ballad written for saxophonist Lester Young, and named after Young's signature headwear. The melody is haunting and beautiful, and played in unison or octaves by tenor saxophonists John Handy and Booker Ervin except for one note, on which they play the dissonant interval of either a minor second or minor ninth. The single dissonance resembles a wince, and it's perhaps a subtle nod to Young's pained life. The other ballad on the album is not as dark, but just as beautiful, and tinged with sadness. "Self-Portrait in Three Colors" features a dulcet unison line in two saxophones, under which the other horns eventually join in with counter lines. The accretive result is a swirling tapestry, with one dissonance resolving into another. "Fables of Faubus" is a bitterly sardonic protest song. It is inspired by the 1957 Little Rock Nine incident in Arkansas, when Governor Orval Faubus stood in the way of desegregation in public schools. The song has also been recorded including biting lyrics, but this version attempts to express the same vitriol with instruments alone.
When it was first released in 1962, five years after it was recorded, Charles Mingus declared this musical account of a bacchanalian trip to the notorious border town the best record he ever made. That may be exaggeration, but it's certainly one of Mingus's best, a suite of pieces that gives form to the range of both his oversized emotions and his varied compositional techniques. The sextet, which sounds like a far larger group, includes several musicians who would become perennial Mingus associates--drummer Dannie Richmond and trombonist Jimmy Knepper--as well as the gifted trumpeter Clarence Shaw, an obscure musician with a distinctive lyricism. In its tumult, passionate breadth, and programmatic content, Tijuana Moods looks ahead to Mingus's later masterpiece, The Black Saint and the Sinner Lady. --Stuart Broomer.
1.Track A - Solo Dancer 2.Track B - Duet Solo Dancers 3.Track C - Group Dancers 4.Mode D - Trio and Group Dancers/Mode E - Single Solos and Group Dance: Mode D-Trio And Group Dancers: Stop! Look! And Sing Songs Of Revolutions / Mode E-Single Solos And Group Dance: Saint And Sinner Join In Merriment On Battle Front / Mode F-Group A.
Bass, Piano - Charles Mingus Drums - Dannie Richmond Engineer [Recording] - Bob Simpson Guitar - Jay Berliner Piano - Jaki Byard Saxophone [Alto] - Charlie Mariano Saxophone [Soprano, Baritone], Flute - Jerome Richardson Saxophone [Tenor], Flute - Dick Hafer Trombone - Quentin Jackson Trumpet - Richard Williams , Rolf Ericson Tuba - Don Butterfield. Recorded in New York on January 20, 1963.
CANON OPUS 4 MOVES WEE FLOWERS FOR A LADY NEWCOMER OPUS 3.
Charles Mingus, bass Ronald Hampton, trumpet George Adams, tenor sax & flute Don Pullen, piano Dannie Richmond, drums Honey Gordon, Doug Hammond, vocals.
DISC 1:
01.Introduction
02.Jump Monk
03.E.S.P.
04.Ecclusiastics
05.Eclipse
06.Us Is Two
07.Taurus in the Arena of Life - (previously unreleased, previously unrleased)
08.Mingus Blues
09.Introduction to Little Royal Suite
10.Little Royal Suite.
DISC 2:
01.Introduction to Strollin' - (previously unreleased)
02.Strollin' - (previously unreleased)
03.I of Hurricane Sue, The - (previously unreleased)
04.E's Flat Ah's Flat Too
05.Ool-Ya-Koo
06.Portrait - (previously unreleased)
07.Don't Be Afraid, the Clown's Afraid Too - (previously unreleased). Recording information: Lincoln Center Philharmonic Hall, NY (02/04/1972); Philharmonic Hall, Lincoln Center, New York, NY (02/04/1972).
Charles Mingus (bass) Teo Macero (conductor) Bill Cosby, Honey Gordon, Dizzy Gillespie (vocals) Richie Perri (alto saxophone, flute) George Dorsey, Lee Konitz, Charles McPherson (alto saxophone) Bobby Jones (tenor saxophone, clarinet) Gene Ammons (tenor saxophone) Howard Johnson (baritone saxophone, bass clarinet) Gerry Mulligan (baritone saxophone) Jon Faddis, Lloyd Michaels, Eddie Preston, Lonnie Hillyer (trumpet) Eddie Bert (tenor trombone) Sharon Moe, Dick Berg (French horn) Bob Stewart (tuba) James Moody (flute) Randy Weston, John Foster (piano) Milt Hinton (bass) Joe Chambers (drums).
01.Three Worlds of Drums
02.Devil Woman
03.Wednesday Night Prayer Meeting
04.Carolyn "Keki" Mingus.
Pepper Adams - Sax (Baritone) Michael Brecker - Sax (Tenor) Joe Chambers - Drums George Coleman - Sax (Tenor) Larry Coryell - Guitar Ronnie Cuber - Sax (Baritone) Ted Dunbar - Guitar Ricky Ford - Sax (Tenor) Eddie Gomez - Bass Slide Hampton - Trombone Jimmy Knepper - Trombone Lee Konitz - Sax (Alto) Charles Mingus - Bass Dannie Richmond - Drums Jack Walrath - Trumpet Jack Wilkins - Guitar Paul Jeffrey - Conductor Ray Mantilla - Percussion Bob Neloms - Piano Daniel Block - Sax (Tenor) Randy Brecker - Trumpet Sammy Figueroa - Percus Steve Gadd - Drums Kenneth Hitchcock - Sax (Alto), Sax (Soprano) Yoshiaki Malta - Sax (Alto) George Mraz - Bass Keith O'Quinn - Trombone Akira Ohmori - Sax (Alto) Craig Purpura - Sax (Baritone) Raymond Silva - Producer John Tank - Sax (Tenor) Kenny Werner - Piano Michael Davis - Trumpet. Recording information: Atlantic Studios, New York, NY (01/18/1978-01/23/1978).
01.Mysterious Blues
02.Wrap Your Trouble In Dreams [Take 5]
03.Body And Soul [previously unreleased, alternate take]
04.Vassarlean
05.Reincarnation Of A Love Bird [previously unreleased, alternate take]
06.Me And You Blues
07.Melody From The Drums [previously unreleased, alternate take].
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).
1.Memories Of You - Take 7 (4:23)
Composed By - Razaf* , Blake*
2.East Coasting - Take 4 (5:10)
3.West Coast Ghost - Take 6 (10:23)
4.Celia - Take 5 (7:51)
5.Conversation - Take 16 (5:26)
6.Fifty-First Street Blues - Take 4 (5:46)
Bonus Tracks
7.East Coasting (Alternate Take 3) (5:26)
8.Memories Of You (Alternate Take 3) (4:40).
Bass - Charles Mingus
Composed By - Mingus* (tracks: 2 to 6)
Drums - Dannie Richmond
Other [Executive A&r Coordination] - Eddie Levine
Other [Liner Notes] - Joseph F. Laredo
Other [Original Liner Notes] - Nat Hentoff
Other [Reissue Project Coordination Assistant] - Jaclyn Levine
Other [Reissue Project Coordination] - Abbey Anna
Piano - Bill Evans
Remastered By [Compiled & Remastered] - Greg Vaughn , Rick Essig , Tom Moulton
Saxophone [Alto & Tenor] - Shafi Hadi
Trombone - Jimmy Knepper
Trumpet - Clarence Shaw
Notes: Tracks 1 to 6 originally released in 1958 as Bethlehem BCP 6019.
Recorded August 1957 in New York City.
Compiled and remastered at Frankford Wayne Mastering Labs N.Y.
Digitally remastered by Tom Moulton, Rich Essig and Greg Vaughan (Frankford Wayne Mastering Labs, New York, New York).
EAST COASTING is a Charles Mingus Jazz Workshop recording that's a departure from the volatile PITHECANTHROPUS ERECTUS that precedes it. The music is more lyrical than many of his more renowned works, perhaps due in part to the line-up of musicians on this recording, including pianist Bill Evans.
The set begins with the standard "Memories of You," which gets the Mingus treatment, and ends with "Fifty-First Street Blues," which changes in a way the blues usually don't. "Conversation" begins as a ballad and later launches into a blues featuring a fine Bill Evans solo. While EAST COASTING may not be as fervent as either the aforementioned PITHECANTHROPUS ERECTUS, or as colorful as TIJUANA MOODS, it splendidly displays Mingus' full range as a composer whose music is so fueled by emotion that even a ballad has its explosive moments.
Recorded on July 30, 1963. Originally released on Impulse! in 1963. Includes original release liner notes by Nat Hentoff.
This album is unique in Mingus' enormous catalogue. As the title indicates, the famous bassist takes to the ivories-solo-to give life to his dazzling improvisational art. At first it seems odd to hear Mingus without one of his trademark interactive and exploratory ensembles. But the sensibility that he brings to this collection of piano pieces bears all the signs of the composer's genius.
In the first piece, "Myself When I Am Real," turbulence and aching beauty merge in Mingus' spontaneous unfolding of phrases. Such standards as "Body And Soul" and "Memories Of You" are given personal, harmonically intriguing readings that blend in seamlessly with a Mingus original like "Old Portrait." In many ways, it is a treat to hear the artist working in this pared down, quieter atmosphere, as it allows one to concentrate more intently upon the range and compositional brilliance of this incomparable figure.
Digitally remastered by Erick Labson. Solo performer: Charles Mingus (piano).
01.Myself When I Am Real
02.I Can't Get Started
03.Body and Soul
04.Roland Kirk's Message
05.Memories of You
06.She's Just Miss Popular Hybrid
07.Orange Was the Color of Her Dress, Then Silk 0Blue
08.Meditations For Moses
09.Old Portrait
10.I'm Getting Sentimental Over You
11.Compositional Theme Story: Medleys, Anthems and Folklore
The track listing on the CD liner notes is almost completely wrong and it is fixed here, except for Eddie 'Cleanhead' Vinson tune (?) 'Blues For Some Bones', which appears also as 'John's Blues' on "Stormy & Funky Blues". Liner notes also list 'Stormy Weather' (even that is mistitled 'Stormy Monday') and 'I'll Remembered April' (sic) to have been played as part of Ellington medley, but neither of them are recognizable.
The playing time noted in the back cover doesn't correspond with the actual performance.
1. Duke Ellington Medley (26:46)
..1. Blues in G (bass solo) (3:45)
..2. In A Sentimental Mood (Duke Ellington)
..3. Sophisticated Lady (Ellington)
..4. ?? (Ellington)
..5. Mood Indigo (Ellington, Barney Bigard)
..6. Take The "A" Train (Billy Strayhorn)
2. Fables Of Faubus (19:10)
3. Diane [Body And Soul] (6:56)
4. Blues Medley [Blues for Some Bones] (15:32)
..1. John's Blues (10:21)
..2. Blues for Roy's Saw (2:02)
..3. Noddin' Ya Head Blues (2:51).
Charles McPherson - alto sax
John Foster - piano, vocal
Charles Mingus - bass
Roy Brooks - drums, musical saw.
1.Better Get Hit In Your Soul 2.Goodbye Pork Pie Hat 3.Noddin' Ya Head Blues 4.Three Or Four Shades Of Blues 5.Nobody Knows.
The Mingus Band: Charles Mingus (acoustic bass); Ricky Ford (tenor saxophone); Jack Walrath (trumpet); Bob Neloms (piano); Dannie Richmond (drums).
Additional personnel: 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).
On Three or Four Shades of Blues, Jimmy Rowles is addedon piano; John Scofield replaces Philip Catherine on guitar; George Mraz does not appear in this selection.
On Nobody Knows, Sonny Fortune is added on alto saxophone; John Scofield replaces Larry Coryell on guitar; Ron Carter replaces George Mraz on bass; George Coleman does not appear in this selection.
Solo orders: Better Get Hit in Your Soul: Mingus (intro), Coryell, Catherine/Coryell (over last riff before tenor solo), Ford. Goodbye Pork Pie Hat: Mraz (bowed intro), coryell,Catherine, Coleman, Mingus, Coryell/Catherine. Noddin Ya Head Blues: Coleman, Coryell, Ford, Catherine, Mingus. Three or Four Shades of Blues: Walrath, Neloms, Rowles, Neloms, Walrath,Ford, Coryell, Mingus, Coleman, Scofield. Nobody Knows: Fortune, Scofield, Walrath, Catherine, Ford.
Three or Four Shades of Blues was arranged by Charles Mingus. All the other selections were arranged by Paul Jeffrey. Better Get Hit in Your Soul: Goodbye Pork Pie Hat and Noddin Ya Head Blues were recorded on march9, 1977. Nobody Knows on on march 11, 1977, at Atlantic Studios, New York, NY. Recording Engineer Bobby Warner. Three Or Four Shades Of Blues was recorded on March 29, 1977 at The Record Plant, New York, NY. Recording engineer Carmin Rubino. Mixing Engineers: Bobby Warner, Carmine Rubino, Don Puluse.Charles Mingus is using a Yamaha bass amplifier in this recording.
CD 1 1 A.T.F.W. (Art Tatum Fats Waller) 2 Presentation of Musicians: Johnny Coles' Trumpet 3 So Long Eric 4 Orange Was the Color of Her Dress, Then Blue Silk 5 Fables of Faubus. CD 2 1 Sophisticated Lady 2 Parkeriana 3 Meditations of Integration (Or for a Pair of Wire Cutters).
Charles Mingus- bass; Eric Dolphy- flute, alto sax, bass clarinet; Clifford Jordan- tenor sax; Jaki Byard- piano; Dannie Richmond- drums; Johnny Coles- trumpet.
By Germein Linares.
The aptly titled The Great Concert of Charles Mingus is an April '64 Paris performance by one of the bassist's all-time great bands. Featuring Eric Dolphy on reeds and flute, Clifford Jordan on tenor saxophone, Jaki Byard on piano, and Dannie Richmond on drums, this two-disc set is the definitive, track-by-track performance of the concert. An earlier CD version of this event had an altered track order, less music, and inferior sound quality compared to this release.
The concert itself has eight tracks, with Byard's solo tribute to Art Tatum and Fats Waller on "A.T.F.W." starting the show. On this previously unreleased track, Byard's skills are impressive in his imitation of these two titans. The concert continues with Mingus presenting the musicians as well as Johnny Coles' trumpet. Coles had fallen ill on stage two nights earlier from a perforated gastric ulcer, remaining hospitalized for the duration of the tour. The missing trumpet parts caused Mingus to rethink the orchestration on several of these tunes and delay this concert for a day. The band, as heard here, responds skillfully to the challenge, yielding over two hours of excellent, at times transcendent, jazz.
The high praise starts with "So Long Eric," Mingus' rousing farewell to the departing Dolphy (he remained in Europe while the rest of the group returned to America). Covering nearly 22 minutes, the song is a constant churn of solos and group interactions presenting straightahead and free jazz motions in remarkably seamless movements. More than any other composer in jazz, Mingus sought a common ground between the music's rich past and its expectant future. The resulting art from these urges, as on "Parkeriana" and the awesome "Meditations on Integration," yielded masterpieces. The Charlie Parker dedication, for example, marries several of Bird's bebop riffs to various differing tempos so as to gain a fresh, up to date, perspective of his music, or as Mingus tells the audience, "to recapture many of the feelings some of us had for Charles Parker." Placed in such a constant stream, Parker's works come through as diverse and monumental, which, of course, they were.
The true summation of Mingus' compositional powers, though, comes on the finale. After letting the Parisian audience know of his displeasure with the blatant racism and hate of his native land, he and the whole band jump into the intricate workings of "Meditations on Integration." Again, past, present and future make appearances as the tune evolves from a slight jaunt to an incredible, multidimensional force. When Mingus goes solo on "Sophisticated Lady," he is nearly as charming, with a minimalist skirting of the melody proving to be as effective, if more poetic, than the usually recognized theme.
Tragically, Dolphy would pass away two months after this concert from a diabetic shock. Performing on one his final outings, Dolphy is wonderful to hear within the rich Mingus tapestry. An all around remarkable jazz document, The Great Concert of Charles Mingus is one of last year's better reissues.
1.Haitian Fight Song
2.Blue Cee
3.Reincarnation of a Lovebird
4.The Clown.
Charles Mingus (bass), Curtis Porter (alto,tenor saxes), Jimmy Knepper (trombone), Wade Legge (piano), Dannie Richmond (drums).
The Clown is an album by Charles Mingus recorded and released in 1957. The follow-up to 1956's Pithecanthropus Erectus, it further established Mingus' reputation as one of jazz music's premiere band leaders.
Though perhaps best-known for featuring the improvised narration of Jean Shepherd, it is considered by many to be one of Mingus's major works as well as being arguably his most diverse.
Mingus Dynasty (1959)01. "Slop" 02. "Diane" 03. "Song With Orange" 04. "Gunslinging Bird" 05. "Things Ain't What They Used To Be" (M. Ellington) 06. "Far Wells, Mill Valley" 07. "New Now Know How" 08. "Mood Indigo" (I. Mills/B. Bigard/D. Ellington) 09. "Put Me In That Dungeon"
Charles Mingus ·Bass John Handy ·Alto Saxophone, Saxophone Jerome Richardson ·Baritone Saxophone, Flute, Saxophone Seymour Barab ·Cello Maurice Brown ·Cello Dannie Richmond ·Drums Sir Roland Hanna ·Piano Booker Ervin ·Saxophone, Tenor Saxophone Benny Golson ·Saxophone, Tenor Saxophone Jimmy Knepper ·Trombone Don Ellis ·Trumpet Dick Williams ·Trumpet Teddy Charles ·Vibraphone Theodore Cohen ·Vibraphone, Vocals
Este es un excelente álbum. El remastering de Columbia es excelente.
Este álbum tiene un sentir similar a lo que es su predecesor, AH UM, pero de ningun modo es inferior. La intensidad de esta música es incomparable. Temas como "Strollin",el humor de "Slop" y "Song With Orange" en coche junto con un swagger y strut asociado sólo con Mingus "poderoso bajo. El título del tema "Gunslinging Bird" fue acortado del "If Charlie Parker Were A Gunslinger, There Would Be A Whole Lot Of Dead Copy Cats", a pedido de Columbia Records. "Mood Indigo" es un clásico de Duke Ellington. Mingus lleva a esta enorme pieza con mucha fuerza, motivando a los vientos que lleven sobre ruedas la melodía con constantes solos. Un excelente documento del jazz.
Charles Mingus At Ucla (1965)At Ucla 1965 CD DISC 1:
1. Opening Speech 2. Meditation on Inner Peace 3. Speech Introducing Musicians 4. Meditation on Inner Peace 5. Speech 6. Once Upon a Time, There Was a Holding Corporation Called Old America 7. Lecture to Band 8. Once Upon a Time, There Was a Holding Corporation Called Old America 9. Ode to Bird and Dizzy 10. Speech 11. They Trespass the Land of the Sacred Sioux
At Ucla 1965 Songs DISC 2:
1. Arts of Tatum and Freddy Webster, The 2. Speech 3. Once Upon a Time, There Was a Holding Corporation Called Old America 4. Speech: Introduction to Lonnie Hillyer 5. Musket Ramble 6. Pause 7. Don't Be Affraid, The Crowd's Affraid Too 8. Don't Let It Happen Here. Mpeg-4:256 Kbps
Charles Mingus, bass and piano; Jimmy Owens, flugelhorn and trumpet; Lonnie Hillyer, trumpet; Hobart Dotson, trumpet; Charles McPherson, alto saxophone; Julius Watkins, French horn; Howard Johnson, tuba; Dannie Richmond, drums.
Otra reedición interesantísima de Mingus. Música que ve la luz por primera vez en formato cd (doble!) y que tuvo una tirada limitadísima (y única) en su edición original en vinilo; así que estamos hablando prácticamente de un inédito de Charles Mingus. En 1965, el contrabajista estaba de vuelta en EEUU tras su gira por Europa, una gira que todo el mundo reconoce como uno de los momentos álgidos en la historia del fundamental músico. Tras este tour y la vuelta a EEUU, Mingus se enteró de la muerte de una figura básica para él, Eric Dolphy, que también formó parte de su banda en la mentada gira. Después de este serio revés, era hora de volver al trabajo, y aceptó la invitación del Festival de Monterey, para tocar y escribir nueva música en éste. El concierto en Monterey acabó por interrumpirse antes de llegar a su fin (razones sin confirmar), y la audiencia quedó frustrada por la oportunidad perdida de escuchar a Mingus interpretar su nueva música junto a su recién estrenada banda. Una semana más tarde, Mingus se presentaba en la universidad de UCLA con la misma música y el mismo grupo para acabar lo que empezó en Monterey... El documento sonoro es uno de los de mayor altura musical que se haya escuchado de un músico ya de por sí enorme. Avisados estamos... Otra reedición fundamental para todos los fans (y somos muchos) de Mingus.
Esta es una grabación completa de el gran concierto en París el 19 de Abril 1964. Esta debe de ser la mejor interpretación disponible que existe de esta banda en la gira Europea. La inspiración de Mingus es impresionante en esta grabación - su solo en Fables de Faubus puede ser las mejores grabaciones de solos registradas. Eric Dolphy es impresionante en sus interpretaciones finales, poco antes de su muerte trágica. La Parte rítmica de Byard, Mingus, Richmond es una de las mejores en el jazz. Ésta es una grabación asombrosa, por una de las mejores bandas de Jazz de esa época.
01 - Introduction And Presentation 02 - So Long Eric, 1re partie 03 - So Long Eric, 2re partie 04 - Orange Was The Colour Of Her Dress 05 - Parker Iana 06 - Meditation For Integration 07 - Fables Of Faubus, 1re Partie 08 - Fables Of Faubus, 2re Partie 09 - Sophisticated Lady.
Mp3:256 Kbps
Recorded April 19, 1964, live at the Theatre des Champs-Elysees, Paris. Remastered for reissue at Art et Son Studio, Paris by Alexis Frenkel.
Charles Mingus, bass; Eric Dolphy, flute, alto saxophone, bass clarinet; Clifford Jordan, tenor saxophone; Jaki Byard, piano; Dannie Richmond, drums.
Charles Mingus (22 de abril de 1922-5 de enero de 1979) fue un bajista de jazz americano, compositor de orquesta, y pianista ocasional. También fue conocido por su activismo contra la injusticia racial.
Mingus es altamente clasificado entre los intérpretes y compositores de jazz, y ha grabado muchos discos muy apreciados. Decenas de músicos pasaron por sus bandas y más tarde pasó a su impresionante carrera como bajista. Sus temas-aunque melódico y distintivos-a menudo no se re-grabado, en parte debido a su carácter poco convencional. Mingus fue también influyente y creativo como líder de una banda, la contratación de talento y, a veces poco conocidos artistas a los que se reunieron en poco convencional y que revela las configuraciones.
Casi tan conocidas como su música era ambicioso Mingus "a menudo temible temperamento, que le valió el apodo de" El Angry Man of Jazz ". Su negativa a comprometer su integridad musical llevado a muchos en fase de erupciones, aunque se ha argumentado que su temperamento también creció la necesidad de salida de humos a la frustración.
Mingus era propenso a la depresión. Él tiende a tener períodos breves de extrema actividad creativa, entremezclan con bastante largos períodos de disminución de la producción en gran medida.
La mayor parte de la música de Mingus mantenerse caliente y el soulful sentir de Hard Bop y ha inspirado en gran medida de gospel negro, mientras que a veces basándose en elementos de Tercer Ciclo, free jazz e incluso música clásica. Sin embargo, Mingus evitar la categorización, la creación de su propia marca de la música que fusionados con la tradición única e inexplorados reinos de jazz. Mingus centrado en la improvisación colectiva, similar a la vieja Nueva Orleans Jazz desfiles, prestando especial atención a la forma en que cada miembro del grupo interactuó con el grupo en su conjunto. Al crear sus bandas, Mingus aguarda no sólo a las habilidades de los músicos disponibles, sino también su personalidad. Él se esforzó por crear única música que deben desempeñar los únicos músicos. Debido a su brillante escrito para mediados de los conjuntos de tamaño y de su restauración y haciendo hincapié en los puntos fuertes de los músicos en sus grupos de Mingus es a menudo considerado el heredero aparente a Duke Ellington, a quien expresó su admiración incondicional. De hecho, Dizzy Gillespie había reclamado una vez Mingus le recordaba "de un joven Duque", citando su compartidos "genio de organización."
Biografía
Charles Mingus, nació el 22 de abril de 1922 en Nogales, Arizona, muy cerca de la frontera con México. Sus abuelos maternos poseían nacionalidades chinas y británicas mientras que los paternos eran de origen sueco y afroamericano respectivamente. Criado en un entorno familiar muy severo y racista, sus primeros contactos con la música se produjeron en la Iglesia de Holiness Church, un suburbio negro de Los Ángeles adonde su familia se había trasladado. Con un magnifico oído, escogió el trombón como primer instrumento en su carrera, pero la afortunada -para el jazz- incompetencia de su profesor, hizo que desviara la atención hacia el chelo. Un amigo suyo, conocedor de las ideas antirracistas de Mingus, le advirtió que estaba ensayando con un instrumento mas propio de blancos que de negros. Mingus se entregó a partir de ahí al estudio del contrabajo.
Escuchando a Duke Ellington, descubrió que había otra música mas allá de los muros de la iglesia y tomó lecciones de Red Callender, un magnifico contrabajista de la era del swing. En 1940, obtuvo su primer trabajo serio con el batería de jazz, Lee Young, hermano de Lester y consiguió algunas actuaciones con Barney Bigard y Louis Armstrong en 1942. Conoció al vibrafonista, Red Norvo y ello le dio alas para dirigirse a New York, en una época en que la Gran Manzana era un hervidero musical de nuevas ideas.
Allí conoció los círculos musicales del bebop y Charlie Parker, cuando lo escuchó por primera vez, lo animó a perseverar en su música. En 1952, fundo su propio sello discográfico "Debut", y su primera grabación fue el excepcional concierto de 1953 en Toronto en el Massey Hall, considerado como el canto del cisne del bebop. A partir de ahí, comenzó su periplo musical como líder y grabó en 1956 para el sello Atlantic, su primera obra maestra: "Pithecanthropus Erectus" dando comienzo a una carrera musical impresionante jalonada con discos, grabaciones en directo y conciertos absolutamente magistrales.
Entre finales de los cincuenta y principios de los sesenta, Mingus grabó el cuerpo de su obra discográfica mas importante y entre ellas hay sin duda, varias obras maestras repartidas entre distintas casas discográficas: "The Clown" (Atlantic, 1957); "New Tijuana Moods" (RCA, 1957); "Mingus Ah Um" (Columbia, 1959); "Blues & Roots" (Rhino, 1959); "Mingus at Antibes" (Atlantic, 1960); "Charles Mingus Present Charlie Mingus" (Candid, 1960) o el considerado por muchos críticos, su obra maestra absoluta "The Black Saint and the Sinner Lady" (Impulse, 1963) y entre esos discos, pequeñas joyas que se han convertido con el transcurrir del tiempo en grandes estándares del jazz como "Goodbye Pork Pie Hat" un hermosísimo homenaje a Lester Young, o "Better Git It In Your Soul".
Charles Mingus, fue sin duda, un genio de la música y del jazz moderno. Su aportación al desarrollo del jazz fue extraordinaria y es considerado uno de los grandes compositores del siglo XX.
Live at Montreux 1975 Charles Mingus [b] Don Pullen [p] George Adams [s] Gerry Mulligen [bs] Benny Bailey [t] Danny Richmond [d].
Premios y honores
* 1971 Guggenheim Fellowship (Composición de Música) * 1971: inducida en la Down Beat Jazz Hall of Fame. * 1982: inducida en la Big Band Jazz y Salón de la Fama. * 1993: La Biblioteca del Congreso de la Mingus adquirido documentos recopilados - incluyendo partituras, grabaciones sonoras, la correspondencia y fotos - en lo que calificaron como "la más importante adquisición de una colección de manuscritos relacionados con el jazz en la Biblioteca de la historia" [15]. * 1995: El Servicio Postal de los Estados Unidos emitió un sello en su honor. * 1997: Fue galardonado con el póstumo Grammy Lifetime Achievement Award. * 1999: El álbum Mingus Dynasty (1959) fue inducida por el Grammy Hall of Fame. * 2005: inducida por el Jazz en el Lincoln Center, Jazz Nesuhi Ertegun Salón de la Fama.
Discografía parcial
Como Sideman:
* Robbins' Nest (Illinois Jacquet) (1945, Toho) * Mellow Mama (con Dinah Washington) (1945, Delmark) * Hot Piano (con Wilbert Baranco) (1946, Tops) * IVIE Anderson y Su All Stars (con Anderson IVIE) (1946, Storyville) * Lionel Hampton y su orquesta de 1948 (con Lionel Hampton) ((1948, Weka) * Lionel Hampton en Concierto (con Lionel Hampton) ((1948, Cicala Jazz) * La Red Norvo Trio (con Red Norvo) (1951, Saboya) * Mover (con Red Norvo) (1951, Saboya) * Miles Davis en Birdland 1951 (con Miles Davis) (1951, Beppo) * Jazz en Storyville (con Billy Taylor) (1951, percha) * The George Wallington Tríos Con Charles Mingus, Oscar Pettiford, Max Roach (1952, Prestige) * Las emisiones de primavera de 1953 (con Bud Powell) (1953, ESP) * El centro de Incendios (con Bud Powell) (1953, Electra / Músico) * Jazz en el Massey Hall (aka. El Greatest Jazz Concert Ever) (con Charlie Parker) (1953, Debut) * La introducción de Paul Bley (con Paul Bley) (1953, Debut) * Exploraciones (con Teo Macero) (1953, Debut) * The New Oscar Pettiford Sexteto (con Oscar Pettiford) (1953, Debut) * Ada Moore (Moore con Ada) (1954, Debut) * Mad bebop (con J. J. Johnson) (1954, Saboya) * El eminente J.J. Johnson (con J. J. Johnson) (1954, Blue Note) * Evolución (con Teddy Charles) (1955, Prestige) * Piano de ánimo relajado (con Hazel Scott) (1955, Debut) * La John Mehegan Trio / Cuarteto (con John Mehegan) (1955, Saboya) * Muy Atentamente verdad (con Jimmy Scott) (1955, Saboya) * La Fabulous Thad Jones (con Thad Jones) (1955, Debut) * Nuevas Expresiones Piano (con John Dennis) (1955, Debut) * Fácil de Jazz (con Ralph Sharon) (1955, Londres) * Blues de ánimo (con Miles Davis) (1955, Prestige) * La Palabra de Bird (con Teddy Charles) (1956, Atlantic) * Los nuevos rostros (con Jimmy Knepper) (1957, Debut) * Money Jungle (con Duke Ellington y Max Roach) (1962, Blue Note)
Como Líder:
* Baron Mingus - Costa Oeste 1945-49 (1949, Uptown) * Teclas y Cuerdas (dúo con Spaulding dados) (1951, Debut) * El joven rebelde (1952, Swingtime) * El Charles Mingus Duo y Trio (1953, Fantasía) * Charles Mingus Octeto (1953, Debut) * El ánimo de Mingus (1954, Saboya) * El Jazz experimentos de Charles Mingus (1954, Belén) * Jazzical de ánimo (1954, Belén) * Mingus a la Bohemia (1955, Debut) * Pithecanthropus Erectus (1956, Atlantic) * El Clown (1957, Atlantic) * El Jazz experimentos de Charles Mingus (1957) * Tres Mingus (1957, Jubileo) * Este deslice por Charles Mingus (1957, Belén) * A Modern Jazz Simposio de Poesía y Música (1957, Belén) * Blues & Roots (1959, Atlantic) * Mingus Ah Um (1959, Columbia) * Mingus Dynasty (1959, Columbia) * Jazz Portraits (1959, United Artists) * Pre Bird (1960, Mercury) * Mingus en Antibes (1960, Atlantic) * Charles Mingus Presents Charles Mingus (1960, Candid) * Reencarnación de un amor Bird (1960, Candid) * Esta noche al Mediodía (1961, Atlantic) * Vital Savage Horizons (1962, Alto) * Tempo di Jazz (1962, Tempo di Jazz) * Ayuntamiento de Conciertos (1962, Blue Note) * Oh Yeah (1962, Atlantic) * Tijuana Moods (1962, RCA) * El Negro y el Saint Sinner Lady (1963, Impulse!) * Mingus Mingus Mingus Mingus Mingus (1963, Impulse!) * Mingus Plays Piano (1963, Impulse!) * Cinco Mingus (1963, Impulse!) * La venganza! (live 1964 el rendimiento con Eric Dolphy, Jazz 32; anteriormente emitidos por el Prestige como El Gran Concierto de París) * Ayuntamiento de Conciertos (1964, Fantasía) * Concertgebouw de Amsterdam, Vol. 1 (1964, Ulysse Musique) * Charles Mingus Live En Oslo 1964 Con Eric Dolphy (1964, Jazz) * Charles Mingus Sexteto Live En Estocolmo 1964 (1964, Real Jazz) * Charles Mingus Sexteto viven en Europa (1964, únicos Jazz) * El Gran concierto de Charles Mingus (1964, América) * Charles Mingus Sexteto con Eric Dolphy CORNELL 18 de Marzo de 1964 (2007, Blue Note) * Mingus En Europa (1964, Enja) * Mingus En Stuttgart, 28 de abril de 1964 Concierto (1964, únicos Jazz) * Derecho Now: Live At The Jazz Workshop (1964, Fantasía) * En Monterrey Mingus (1964, Mingus JWS) * La música escrita para Monterrey 1965. No Ecos ... Jugó en su totalidad en UCLA, Vol. 1 & 2 (1965, Mingus JWS) * Charles Mingus - Cecil Taylor (1966, Ozono) * Las declaraciones (1969, Joker) * TNP París (1970, Ulysse Musique) * Charles Mingus Sexteto En Berlín (1970, Beppo) * Charles Mingus (1971, Columbia) * Charles Mingus y amigos en concierto (1972, Columbia) * Charles Mingus Quintet Con Dexter Gordon (1972, White Label) * Que mis hijos Escuchar Música (1972, Columbia) * Pasiones de un hombre (1973, Atlantic) * Mingus En Carnegie Hall (1974, Atlantic) * Uno de los cambios (1974, Atlantic) * Dos cambios (1974, Atlantic) * Mingus Moves (1974, Atlantic) * Village Vanguard 1975 (1975, Blue Mark Música) * La música de Charles Mingus (1977, Bayside) * Stormy & Funky Blues (1977) * Cumbia & Jazz Fusion (1977, Atlantic) * Tres o cuatro Shades of Blues (1977) * Algo como un pájaro (1979, Atlantic) (Mingus no juega en este período de sesiones) * Me, Myself Gusto (1979, Atlantic) (Mingus no juega en este período de sesiones) * Epitaph (1990, Columbia) (Mingus no juega en este período de sesiones)
Para leer más
* Su autobiografía, bajo el Underdog, presenta un vibrantly boastful y posiblemente apócrifa cuenta de su temprana carrera como proxeneta. * Mí mismo cuando estoy Real: La vida y la música de Charles Mingus por Gene Santoro, Oxford University Press (1 de noviembre de 2001), 480 páginas, ISBN 0-19-514711-1 * Mingus: Una biografía crítica de Brian Priestley, Da Capo Press (1 de abril de 1984), 340 páginas, ISBN 0-306-80217-1 * Esta noche a mediodía: una historia de amor de Sue Mingus Graham, Da Capo Press; reimpresión edición (abril, 2003), 272 páginas, ISBN 0-306-81220-7. Escrito por su viuda. * Charles Mingus - Más de un falso Libro de Charles Mingus, Hal Leonard Corporation (1 de noviembre de 1991), 160 páginas, ISBN 0-7935-0900-9. Incluye 2 CDs, fotos, discografía, transcripciones de música, un libro de historietas Mingus la promoción de su lucha contra la piratería de proyectos, etc * Mingus / Mingus: Dos Memorias de Janet Coleman, Al Young, Limelight Editions (1 de agosto de 2004), 164 páginas, ISBN 0-87910-149-0 * Yo sé lo que sabe: la música de Charles Mingus por Todd S. Jenkins, Praeger (2006), 196 páginas, ISBN 0-27598-102-9 * Pero Hermoso de Geoff Dyer, Abacus (2006), páginas 103 - 127, ISBN 0-349-11005-0
Películas
* En 1959, Mingus siempre la música de John Cassavetes es arenoso la ciudad de Nueva York película, Sombras. * En 1968, Thomas Reichman dirigió el documental Mingus: Charlie Mingus 1968. * En 1991, Ray Davies producido un documental titulado Weird Nightmare. Contiene escenas de Mingus y entrevistas con artistas de toma Hal Willner del homenaje álbum del mismo nombre, entre ellos Elvis Costello, Charlie Watts, Keith Richards, y Vernon Reid. * Charles Mingus: Triunfo de la Underdog es de 78 minutos a largo documental sobre Charles Mingus dirigida por Don McGlynn y puesto en libertad en 1998.
