Charles Mingus Music

Mysterious Blues and R&R feature the two

With Candid's recordings of Mingus work currently not available, this is about the best one can do to get Mingus's studio work with Dolphy and others. Many of the tracks are fairly mellow (as the title suggests) unlike other, more intense recordings such as Ah Um and Mingus etc. Nevertheless, a solid recording that any serious Mingus fan will want.

Originally released on the Candid label, it's strange to think that this album isn't more well known to jazz fans, considering some of the big names that appear and some of the inspired soloing they unleash. Dannie Richmond, Mingus' quintessential drummer is the only one who appears on all tracks, along with Mingus, but appearing on and off are more than capable sidemen such as Booker Ervin, Charles MacPehrson, Jo Jones and Tommy Flanagan, but it's the last five tracks that are truly amazing. Mingus manages to bridge two schools of jazz, swing and avant-garde, like the bridge never existed, bringing together colossal swing trumpeter Roy Eldridge and free jazz prodigy Eric Dolphy. The highlight of the album is a lengthy rendition of 'Body and Soul', which features some truly awe-inspiring solos by Eldridge, Dolphy, and trombonist Jimmy Knepper, and the everpresent and always fiery boom of Mingus' bass, keeping superb time and swinging like crazy while letting rip some of his notorious vocal exclamations to push the music along. The rest of the disc rarely matches that energy, but this is still essential music for any Mingus fan.

This is my third CD of Mingus, and while it is not quite as instantly fascinating as "Mingus Ah Um" on Columbia, it is plenty good. Certainly, it is much stronger overall than "Pithecanthropus Erectus", the Atlantic label release which came out in 1957, three years before "Soulful Mood." Of the eight tunes, four are Mingus originals, and three are old standards offered in extended form with lengthy solo sections. Keeping Charles' company are Booker Ervin on tenor sax, Eric Dolphy on alto sax and on bass clarinet, Roy Eldridge on trumpet, Tommy Flanagan on piano, and Dannie Richmond and Jo Jones sharing percussion. "Stormy Weather" takes up 13-and-a-half minutes, and "Body and Soul" is extended for nearly 11 minutes. While most of the moments on this long disc are mellow, there are some swing elements, some bop, and some experimental passages. Almost all of it, however, is melodic and happy. I'd still say "Mingus Ah Um" is the best introduction to his genius, and his attempts to bring the Duke Ellington tradition to the 1960's. But "In a Soulful Mood" actually has more of Mingus' bass playing than the much more famous "Ah Um." It's a good second choice for exposure to the complications, contradictions and controversies which Charles' brought to American jazz in the years inbetween the Korean War and Vietnam. These selections feature four to eight players, and were laid down in a studio in NYC over two sessions near the end of 1960. This Music Club edition, meant for distribution in Europe and released in 1995, has a nice cardboard outer case, a jewel case, an eight-page booklet, and three stiff cards with photos of Mingus at his bass. Classy production all around, and the sounds on the disc are classic as well.

"Jazz Portraits: Mingus in Wonderland" is a good live album but not essential considering the plethora of other sessions available. Although this is a Blue Note CD, it was not originally recorded for the label in 1959. The band here is solid, with Booker Ervin leading the way, but it's not one of Mingus' best groups. The tunes are also good, but there are none of those characteristic Mingus blues-gospel romps that we've all come to know and love. For my money, other live recordings such as "Town Hall Concert (OJC)," recorded shortly before Eric Dolphy's tragic death, and "At Antibes," with Bud Powell joining the band (!), are more legendary. Maybe some Mingus afficianados will like this album's change of pace, but I say start elsewhere.

1959 was a milestone year for Charles Mingus -- he recorded four albums which included some of his best known, and best, compositions/performances. Unlike the other three albums, which mostly feature larger ensembles, this semi-obscure one has a stripped down quintet: John Handy on alto, Booker Ervin on tenor, Richard Wyands on piano (subbing for Horace Parlan), and Danny Richmond.

Two of the compositions here, "Nostalgia in Times Square" and "Alice's Wonderland", also appear on the album Mingus Dynasty under the titles "Strollin'" and "Diane". The former is a swinger with an extremely catchy melody; the second is one of Mingus's finest ballads. "No Private Income Blues" is a spectacular performance. Handy and Ervin trade scorching licks at ever-shrinking intervals, eventually engaging in a thrilling simultaneous improvisation. I think it anticipates some of the better-known performances with Eric Dolphy. The only standard, "I Can't Get Started", is a feature for Handy.

Overall, this album is highly recommended. Both saxophonists play at a very high level, and Mingus's bass is more heavily featured than on other albums from this year. I wouldn't quite put it on the level of Mingus Ah Um, Mingus Dynasty or Blues & Roots, but you will almost certainly like it if you enjoy those. It will probably also appeal to fans of Mingus at Antibes or The Great Concert.

I too was taken by this album when I first heard it in the early 1960s. I've always especially loved "Alice's Wonderland" -- which has been recorded elsewhere under the title "Diane" -- and regretted that it was not included in the film for which it was composed, John Cassavetes' "Shadows." I don't share the opinion that this was not a great date. I love the spontaneity and ambience of the live recording. I heard Mingus at the old Five Spot in New York and this is what he sounded like, without retakes, without perfect acoustics. I do wish the micing was more natural. But the performances are first-rate.

I have to differ from Mr. Richman as much as I respect his opinion. I happened across this album about thirty five years ago in the beginning of my Mingus obsession. Yes, this is not one of Mingus' greatest albums and it is not his greatest band (the Dolphy-Jordan-Byard-Richmond lineup leads that list). This is, however, some of the greatest American music ever composed played by an excellent band. Booker Ervin on the tenor, John Handy on the alto, Richard Wyands on the piano, Mingus playing beautifully on the woodiest of all instruments- the standup bass and, as always, Dannie Richmond on the drums. Ervin and Handy are a wonderful pair, both supportive and competitive (they have a great chase to end No Private Income Blues) and they both possess wonderful tone. That beautiful tone of Handy's is showcased on Duke's lovely "I Can't Get Started". Nostalgia in Times Square is one of Mingus' best tunes- possessed on one of those loopy melodies of his that are so hummable. This may not be his best date but it is a darn site better than much of the music that has been recorded since this was on January 16th, 1959. That's good enough for me I guess. That and the fact that I am listening to Handy and Ervin debate on private income right now and am grinning from ear to ear. Thank you, Charles.

This is a pleasant, upbeat album without a hint of anger and may disappoint fans wanting an "edgier" Mingus. However, this was to be his last recording as a muscian and in that sense it is a nice way to bow out. In fact, given this, the titles Farewell, Farewell and Goodbye, Eric seem poignant although in fact Goodbye, Eric is really an upbeat number and the real standout on this disc for me. Lionel Hampton is good and seems at home with the music. Overall, most anyone interested in mainstream, modern jazz would enjoy this recording if not exactly get ecstatic over it. The packaging mimics an old gate-fold type vinyl record album with the disc in a sleeve which will probably soon wear out. The packaging is slightly larger than a standard jewel case which may annoy the persnickety ones out there. The liner notes are an abomination due to some shoddy translation from the Italian. Lastly, the tune It Might as Well Be Spring sounds like it is from some entirely different session but as no session notes are included, who knows?

If you put this CD, all your neigbors will be in your apartment fighting to be dancing right next to your speakers. Though there are a few slower beats, all the tunes are radically hoppin' and mingus has set his band a stage to do wonderful and impossible things with their horns (and piano etc.)-- all reigned in by the king. this got my blood flowing so much that i even signed in through amazon's secure server to let you all know that this CD is pure enlightenment.

Me, Myself an Eye was an amazing session. I've searched for years to get a copy, and finally it's on the "Oldies" label. Go figure.

I agree entirely with Jack Walrath (above) the mix isn't that great, but IMHO,it doesn't matter -- the ferocity and spontaneity of the session has been caught. This is hard music -- hard bop with electric overtones -- the kind of music for which I lived to hear three decades ago. Still knocks me out, it does. Swinging!

Here's a personnel list:

'Three Worlds Of Drums':
Ken Hitchcock - alto sax, soprano sax
Akira Ohmori - alto sax
Daniel Block - tenor sax
Michael Brecker - tenor sax
George Coleman - tenor sax
Ricky Ford - tenor sax
Pepper Adams - baritone sax
Ronnie Cuber - baritone sax
Craig Purpura - baritone sax
Randy Brecker - trumpet
Mike Davis - trumpet
Jack Walrath - trumpet
Jimmy Knepper - trombone
Slide Hampton - trombone
Larry Coryell - guitar
Ted Dunbar - guitar
Jack Wilkins - guitar
Bob Neloms - piano
Eddie Gomez - bass
George Mraz - bass
Joe Chambers - drums
Steve Gadd - drums
Dannie Richmond - drums
Sammy Figueroa - percussion
Ray Mantilla - percussion
Paul Jeffrey - conductor

'Devil Woman', 'Wednesday Night Prayer Meeting' and 'Carolyn "Keki" Mingus':
Ken Hitchcock - alto sax, soprano sax
Lee Konitz - alto sax
Yoshiaki Malta - alto sax
Akira Ohmori - alto sax
Daniel Block - tenor sax
Michael Brecker - tenor sax
Ricky Ford - tenor sax
John Tank - tenor sax
Pepper Adams - baritone sax
Ronnie Cuber - baritone sax
Craig Purpura - baritone sax
Randy Brecker - trumpet
Mike Davis - trumpet
Jack Walrath - trumpet
Jimmy Knepper - trombone
Keith O'Quinn - trombone
Larry Coryell - guitar
Ted Dunbar - guitar
Jack Wilkins - guitar
Bob Neloms - piano
Eddie Gomez - bass
Joe Chambers - drums
Dannie Richmond - drums
Paul Jeffrey - conductor

Jack, thanks for all the notes you've played. Next time around, I'll buy the tequila.

Very best-
-Bill (from Richard's Lounge, Lakewood, NJ)

I am not sure if one can get used to this type of "angry" music, even trying to listen a lot to it. For those who like Mingus, this is a great recording.

This is a very intense CD. Unfortunately, the mix is not that good (I have a better copy that was made on my home cassette machine during the sessions, where you can hear all of the instruments!) and they could have picked better takes. Hopefully, some day they will remaster it and fix it because "Drums" shows that Mingus was going in a different direction and was still on fire, even when he was in the wheelchair! "Carolyn" and "Farwell" are two beautiful late ballads.
Paul Jeffrey is mistakenly credited as composer on all but one track. Mingus composed all of the tunes. I arranged and orchestrated all of the tunes except "Farwell", which was arranged and orchestrated by Jeffrey and an uncredited Ricky Ford.
Jack Walrath

Two albums from this concert from Wuppertal, Germany, have been released; this is vol. 2, though it doesn't actually say that on the cover. Johnny Coles is absent due to illness, but the core band sounds just fine--Eric Dolphy on alto and bass clarinet, Clifford Jordan on tenor, Jaki Byard on piano, & Mingus & Dannie Richmond motoring things along as usual. The basic material is all in the avant-blues mode that Mingus made his own, by turns lyrical and sardonic--"Orange Was the Colour of Her Dress, Then Blue Silk", "Peggy's Blue Sky Light", "So Long Eric", all pieces subject to Mingus's inimitable methods of variation, creating lengthy, complex structures on the stand. (It's worth comparing this procedure to Anthony Braxton's classic quartet discs of the 1980s--the idea's quite similar, though Braxton uses far more notated material of course.) In the middle of the album come two brief interludes--Byard's stride-piano feature & Mingus's rendition of "Sophisticated Lady"--which are both very good, but the meat of the album is in those three long tracks. Sound is very good on the first four tracks of the album; "So Long Eric" was originally excluded from the disc, probably because of some sonic problems (a lot of chatter caught by the mike, & a few other oddities, like the faint whistling during the statement of the head) but these are minor flaws--it's well worth hearing. These are some of Dolphy's last recorded statements with Mingus, & some of his best.

The other review here refers to Vol 2. of this live material (and is also listed under that title). I'm sure that reviewer would sing equally high praises for the material on this disc. The jams on this are a bit more extended, giving Dolphy more time to stretch out. Highly recommended for anybody wishing to explore Dolphy, or fill out their Mingus collection.

Mingus in Europe has to be one of the greatest live jazz recordings in my mind. The first track "Orange was the Colour of her Dress then Blue Silk" is a true testiment to Mingus' composition skills and how his style allows for such a versatile group of musicians. Clifford Jordan's solo in this first track is truly a one of those "feel good" moments in jazz. The simple chorus allows for a mellow mood with sudden excitment in regular intervals. Eric Dolphy wails out a wacky message on his bass clarinet with lines of genius that make you chuckle. The quality of the sound on this live recording is also amazing. The only other live recording that sounds just as good to me is the Thelonious Monk Quartet - Live at the IT Club which is another amazing album. I would recommend Mingus in Europe to anyone who appreciates the rawness of live jazz.

This concert changed my life. It was because of this concert that I became a serious jazz musician. One thing though. The list of personel for this recording is wrong or at least incomplete. Johnny Coles was on trumpet, and in fact Clifford Jordon did not make the date which was in the afternoon. The place was so full that there wasn't anyplace to sit. People were standing. Also as an encore Mingus and Dolphy played 'What Love' The audience, including myself were openly crying with the emotion they created. At the end there was very little applause because people were just knocked out. They were quietly talking amongst themselves. The emotion was just unreal. In all the jazz experience I have had since, which includes working for Duke. Nothing comes close. All I can do is to try to recreate the emotion in my gigs. Talk about 'Better get hit in your soul.'
Of all the jazz records ever produced including Trane or Miles. Then this has to be one of the best three ever recorded. Sheer magic. listen to it.
Sincerely
Grahame Rhodes

Two albums from this concert from Wuppertal, Germany, have been released; this is vol. 2, though it doesn't actually say that on the cover. Johnny Coles is absent due to illness, but the core band sounds just fine--Eric Dolphy on alto and bass clarinet, Clifford Jordan on tenor, Jaki Byard on piano, & Mingus & Dannie Richmond motoring things along as usual. The basic material is all in the avant-blues mode that Mingus made his own, by turns lyrical and sardonic--"Orange Was the Colour of Her Dress, Then Blue Silk", "Peggy's Blue Sky Light", "So Long Eric", all pieces subject to Mingus's inimitable methods of variation, creating lengthy, complex structures on the stand. (It's worth comparing this procedure to Anthony Braxton's classic quartet discs of the 1980s--the idea's quite similar, though Braxton uses far more notated material of course.) In the middle of the album come two brief interludes--Byard's stride-piano feature & Mingus's rendition of "Sophisticated Lady"--which are both very good, but the meat of the album is in those three long tracks. Sound is very good on the first four tracks of the album; "So Long Eric" was originally excluded from the disc, probably because of some sonic problems (a lot of chatter caught by the mike, & a few other oddities, like the faint whistling during the statement of the head) but these are minor flaws--it's well worth hearing. These are some of Dolphy's last recorded statements with Mingus, & some of his best.

The other review here refers to Vol 2. of this live material (and is also listed under that title). I'm sure that reviewer would sing equally high praises for the material on this disc. The jams on this are a bit more extended, giving Dolphy more time to stretch out. Highly recommended for anybody wishing to explore Dolphy, or fill out their Mingus collection.

Mingus in Europe has to be one of the greatest live jazz recordings in my mind. The first track "Orange was the Colour of her Dress then Blue Silk" is a true testiment to Mingus' composition skills and how his style allows for such a versatile group of musicians. Clifford Jordan's solo in this first track is truly a one of those "feel good" moments in jazz. The simple chorus allows for a mellow mood with sudden excitment in regular intervals. Eric Dolphy wails out a wacky message on his bass clarinet with lines of genius that make you chuckle. The quality of the sound on this live recording is also amazing. The only other live recording that sounds just as good to me is the Thelonious Monk Quartet - Live at the IT Club which is another amazing album. I would recommend Mingus in Europe to anyone who appreciates the rawness of live jazz.

This concert changed my life. It was because of this concert that I became a serious jazz musician. One thing though. The list of personel for this recording is wrong or at least incomplete. Johnny Coles was on trumpet, and in fact Clifford Jordon did not make the date which was in the afternoon. The place was so full that there wasn't anyplace to sit. People were standing. Also as an encore Mingus and Dolphy played 'What Love' The audience, including myself were openly crying with the emotion they created. At the end there was very little applause because people were just knocked out. They were quietly talking amongst themselves. The emotion was just unreal. In all the jazz experience I have had since, which includes working for Duke. Nothing comes close. All I can do is to try to recreate the emotion in my gigs. Talk about 'Better get hit in your soul.'
Of all the jazz records ever produced including Trane or Miles. Then this has to be one of the best three ever recorded. Sheer magic. listen to it.
Sincerely
Grahame Rhodes