Charles Mingus Music

Charles Mingus takes a quintet (plus Bud Powell on one song) through a top-notch set on this CD. The band is on fire pretty much throughout. The only exception is "What Love?" which I don't like as much as the others. Ted Curson plays his heart out on trumpet, Eric Dolphy is his usual off-center self, and Booker Ervin is good form. Bud Powell doesn't just sit in on "I'll Remember April", his long solo is the centerpiece of the song. "Folk Forms" ends with yells and saxes sounding like Indian war calls. I'm sure the "Better Git Hit", the closer, had the audience rolling down the aisle speaking in tongues (or at least in French).

Any Mingus fan should buy this CD. Maybe the only two better are "Mingus Ah Um" and "Blues & Roots". They were recorded in 1959, this was recorded in 1960 - it was obviously a high point in his career.

One of the several Mingus works I'd describe as near-essential, not to mention probably his greatest live album ever. The group is a quintet, including key Mingus associates like the legendary Eric Dolphy and tenor saxophonist Booker Ervin (who played on Mingus Ah Um). You'd expect this to have a free-jazz influence, given Dolphy's presence, but that's not prominent (though it certainly shows up on "Better Get It In Yo' Soul", more specifically Dolph's playing): this leans more towards Mingus' rootsy, gospel-blues approach to jazz. There are even two takes on standards ("What Love?", a slightly revised "What Is This Thing Called Love?"; "April in Paris", which feels very out-of-place and is easily the weakest song on the album). Most of that are Mingus' gospel-blues concert standards like "Wednesday Night Prayer Meeting"; "Folk Forms Number 1" and "Better Get It In Yo' Soul" - all are played with Mingus' characteristic enthusiasm, all reveal the man's compositional brilliance, and the former is the album's top song, though "What Love?" deserves top honors too for the bass solo alone. If that weren't enough for you, the playing on this album is superb: just listen to the sax solo on "Better Get It In Yo' Soul"! Antibes isn't my favorite Mingus album like it used to be, but it's still a key part of the man's huge catalogue.

This has got to be one of the greatest pieces of music ever recorded, jazz, rock, classical whatever. I have had it since I was in high school in the 1980s and I have never stopped listening to it and it never fails to completely sweep me off my feet and knock the wind out of me.

In 1960, Charles Mingus began experimenting with pianoles groups. This live performance, from the summer of 1960, finds Mingus accompanied by two reeds (Eric Dolphy on alto, Booker Ervin on tenor), one trumpet (Ted Curson) and his usual rhythm section partner in drummer Dannie Richmond. It was often felt that the lack of piano allowed the rest of the band to really cut loose. In this case, its certainly true.

Mingus' frontline wastes no time going on a tear, with stunning solos by Ervin ("Prayer for Passive Resistence"), Curson ("Wednesday Night Prayer Meeting") and Dolphy (just about everything) as each tune ends up becoming extended during long improvs. What's amazing is that even material I consider to be somewhat less interestng ("Wednesday Night Prayer Meeting" always sounded like a weak version of "Better Git Hit In Your Soul" to me) catches fire with Curson's fluid and agile solo setting the stage for jaw-dropping soloing from Dolphy who just really cuts loose (Dolphy was several months away from participating in Ornette Coleman's "Free Jazz"-- its really quite no wonder he participated in that session, given his fierce soloing here). And while "What Love" would receive a better reading (remarkably in the studio on "Charles Mingus Presents Charles Mingus") just a few months later, it certainly is a treat to hear Mingus and Dolphy dueling on bass and bass clarinet.

And speaking of treats, the band is joined by piano legend Bud Powell for a lovely take through "I'll Remember April" that if the rest of the record wasn't enough would certainly make this worth investigation.

In all, one of the really great live Mingus recordings. Highly recommended.

Where to start? Listening to this album, I wonder if I would have been able to prevent myself from fainting had I been present at Juan les Pins seeing Mingus live. You see, the urgency, the virtuosity, the volatile elements that Mingus so effortlessly combines here make for some intense and challenging listening. And, when I say virtuosity, I mean it in both ways - individually and collectively. Every musician here is a master of his instrument, yet the almost telepathic communication between them is nothing short of miraculous. On "Better Git Hit in your soul", the band shifts tempos, meters and feels, and sections where the clapping of the band members is the only accompaniment, while the soloists soar in the stratosphere. The effect on me is incredible, even physical - I have stopped breathing sometimes! I wonder if Dolphy is even human. His playing here is pure fire, an incessant barrage of sound that never sounds repetitive and ignites the band to indescribable heights. Yet, he can also be pensive without losing his edge, as he does in "What Love?" - his trialogue with Mingus and Danny must be heard to be believed. Bass and bass clarinet dancing together like a choreographed couple, yet it is improvised. I don't want to ramble on. Just get this if you like Jazz or just creative music by creative musicians. You will be challenged. You will be moved. You will be swept off your feet. You will be different.

Charles Mingus takes a quintet (plus Bud Powell on one song) through a top-notch set on this CD. The band is on fire pretty much throughout. The only exception is "What Love?" which I don't like as much as the others. Ted Curson plays his heart out on trumpet, Eric Dolphy is his usual off-center self, and Booker Ervin is good form. Bud Powell doesn't just sit in on "I'll Remember April", his long solo is the centerpiece of the song. "Folk Forms" ends with yells and saxes sounding like Indian war calls. I'm sure the "Better Git Hit", the closer, had the audience rolling down the aisle speaking in tongues (or at least in French).

Any Mingus fan should buy this CD. Maybe the only two better are "Mingus Ah Um" and "Blues & Roots". They were recorded in 1959, this was recorded in 1960 - it was obviously a high point in his career.

One of the several Mingus works I'd describe as near-essential, not to mention probably his greatest live album ever. The group is a quintet, including key Mingus associates like the legendary Eric Dolphy and tenor saxophonist Booker Ervin (who played on Mingus Ah Um). You'd expect this to have a free-jazz influence, given Dolphy's presence, but that's not prominent (though it certainly shows up on "Better Get It In Yo' Soul", more specifically Dolph's playing): this leans more towards Mingus' rootsy, gospel-blues approach to jazz. There are even two takes on standards ("What Love?", a slightly revised "What Is This Thing Called Love?"; "April in Paris", which feels very out-of-place and is easily the weakest song on the album). Most of that are Mingus' gospel-blues concert standards like "Wednesday Night Prayer Meeting"; "Folk Forms Number 1" and "Better Get It In Yo' Soul" - all are played with Mingus' characteristic enthusiasm, all reveal the man's compositional brilliance, and the former is the album's top song, though "What Love?" deserves top honors too for the bass solo alone. If that weren't enough for you, the playing on this album is superb: just listen to the sax solo on "Better Get It In Yo' Soul"! Antibes isn't my favorite Mingus album like it used to be, but it's still a key part of the man's huge catalogue.

This has got to be one of the greatest pieces of music ever recorded, jazz, rock, classical whatever. I have had it since I was in high school in the 1980s and I have never stopped listening to it and it never fails to completely sweep me off my feet and knock the wind out of me.

In 1960, Charles Mingus began experimenting with pianoles groups. This live performance, from the summer of 1960, finds Mingus accompanied by two reeds (Eric Dolphy on alto, Booker Ervin on tenor), one trumpet (Ted Curson) and his usual rhythm section partner in drummer Dannie Richmond. It was often felt that the lack of piano allowed the rest of the band to really cut loose. In this case, its certainly true.

Mingus' frontline wastes no time going on a tear, with stunning solos by Ervin ("Prayer for Passive Resistence"), Curson ("Wednesday Night Prayer Meeting") and Dolphy (just about everything) as each tune ends up becoming extended during long improvs. What's amazing is that even material I consider to be somewhat less interestng ("Wednesday Night Prayer Meeting" always sounded like a weak version of "Better Git Hit In Your Soul" to me) catches fire with Curson's fluid and agile solo setting the stage for jaw-dropping soloing from Dolphy who just really cuts loose (Dolphy was several months away from participating in Ornette Coleman's "Free Jazz"-- its really quite no wonder he participated in that session, given his fierce soloing here). And while "What Love" would receive a better reading (remarkably in the studio on "Charles Mingus Presents Charles Mingus") just a few months later, it certainly is a treat to hear Mingus and Dolphy dueling on bass and bass clarinet.

And speaking of treats, the band is joined by piano legend Bud Powell for a lovely take through "I'll Remember April" that if the rest of the record wasn't enough would certainly make this worth investigation.

In all, one of the really great live Mingus recordings. Highly recommended.

Where to start? Listening to this album, I wonder if I would have been able to prevent myself from fainting had I been present at Juan les Pins seeing Mingus live. You see, the urgency, the virtuosity, the volatile elements that Mingus so effortlessly combines here make for some intense and challenging listening. And, when I say virtuosity, I mean it in both ways - individually and collectively. Every musician here is a master of his instrument, yet the almost telepathic communication between them is nothing short of miraculous. On "Better Git Hit in your soul", the band shifts tempos, meters and feels, and sections where the clapping of the band members is the only accompaniment, while the soloists soar in the stratosphere. The effect on me is incredible, even physical - I have stopped breathing sometimes! I wonder if Dolphy is even human. His playing here is pure fire, an incessant barrage of sound that never sounds repetitive and ignites the band to indescribable heights. Yet, he can also be pensive without losing his edge, as he does in "What Love?" - his trialogue with Mingus and Danny must be heard to be believed. Bass and bass clarinet dancing together like a choreographed couple, yet it is improvised. I don't want to ramble on. Just get this if you like Jazz or just creative music by creative musicians. You will be challenged. You will be moved. You will be swept off your feet. You will be different.

This album was originally released when I was just 14. As a Tenor Sax player, and a Mingus Fan, and a Rahsaan Roland Kirk fan, this album was one I just couldn't pass up, and blew my whole allowance on the album.

I recently purchased the CD, which comes with informative notes that even go so far as to keep track of the choruses by each soloist. This was the first set of a concert that featured Mingus' regular band. Mingus invited Kirk and others to sit in for the jam. Rahsaan, of course, takes the longest and, in my opinion, the most exciting solos. Jon Faddis is the lone trumpeter. Besides Rahsaan on tenor, the sax players are John Handy on tenor (C-Jam Blues) and alto (Perdido), Charles McPherson on alto, George Adams on tenor, and Hamiett Blueitt on baritone. Don Pullen is the pianist and Dannie Richmond is the drummer. Mingus and his band and friends jam on two Duke Ellington standards. I particularly enjoyed Handy's lyrical alto sax solo on Perdido. C-Jam Blues ends with a few minutes of free playing. The linear notes even tell of George Adams reaching out and fingering one of Rahsaan's instruments. Its almost an hour of music and well worth the price. For those who want to hear Mingus with Rahsaan in the studio, also recommended is Mingus' album "Oh Yeah!".

This album was originally released when I was just 14. As a Tenor Sax player, and a Mingus Fan, and a Rahsaan Roland Kirk fan, this album was one I just couldn't pass up, and blew my whole allowance on the album.

I recently purchased the CD, which comes with informative notes that even go so far as to keep track of the choruses by each soloist. This was the first set of a concert that featured Mingus' regular band. Mingus invited Kirk and others to sit in for the jam. Rahsaan, of course, takes the longest and, in my opinion, the most exciting solos. Jon Faddis is the lone trumpeter. Besides Rahsaan on tenor, the sax players are John Handy on tenor (C-Jam Blues) and alto (Perdido), Charles McPherson on alto, George Adams on tenor, and Hamiett Blueitt on baritone. Don Pullen is the pianist and Dannie Richmond is the drummer. Mingus and his band and friends jam on two Duke Ellington standards. I particularly enjoyed Handy's lyrical alto sax solo on Perdido. C-Jam Blues ends with a few minutes of free playing. The linear notes even tell of George Adams reaching out and fingering one of Rahsaan's instruments. Its almost an hour of music and well worth the price. For those who want to hear Mingus with Rahsaan in the studio, also recommended is Mingus' album "Oh Yeah!".

This album was originally released when I was just 14. As a Tenor Sax player, and a Mingus Fan, and a Rahsaan Roland Kirk fan, this album was one I just couldn't pass up, and blew my whole allowance on the album.

I recently purchased the CD, which comes with informative notes that even go so far as to keep track of the choruses by each soloist. This was the first set of a concert that featured Mingus' regular band. Mingus invited Kirk and others to sit in for the jam. Rahsaan, of course, takes the longest and, in my opinion, the most exciting solos. Jon Faddis is the lone trumpeter. Besides Rahsaan on tenor, the sax players are John Handy on tenor (C-Jam Blues) and alto (Perdido), Charles McPherson on alto, George Adams on tenor, and Hamiett Blueitt on baritone. Don Pullen is the pianist and Dannie Richmond is the drummer. Mingus and his band and friends jam on two Duke Ellington standards. I particularly enjoyed Handy's lyrical alto sax solo on Perdido. C-Jam Blues ends with a few minutes of free playing. The linear notes even tell of George Adams reaching out and fingering one of Rahsaan's instruments. Its almost an hour of music and well worth the price. For those who want to hear Mingus with Rahsaan in the studio, also recommended is Mingus' album "Oh Yeah!".

This is my favorite mingus album. I have worn out old albums and tapes listening to it. Music stores have said that the CD version doesn't exist. I am happy to have found it here!

Struggling with the rigors of owning and operating a record company, Charles Mingus was hard pressed to squeeze a substantial profit from his works. His little record label Debut was a dream come true, allowing Mingus creative control.

Up until about the time of this album, Mingus was yet to fully blossom as a bandleader. His method of direction changed from having his band members read music off of the paper, to a freer, improv approach. This opened his music immensely.

It is apparent on this album that Mingus was in full hard bop swing. "Jump Monk" is a furiously swinging tune with a catchy theme. "Work Song" is another hard driver, with a nimble, cerebral rhythm.

This is among the best early period Mingus available. Also included in the extensive 12 disk Debut Box with extra tracks from this same date.

This is my favorite mingus album. I have worn out old albums and tapes listening to it. Music stores have said that the CD version doesn't exist. I am happy to have found it here!

Struggling with the rigors of owning and operating a record company, Charles Mingus was hard pressed to squeeze a substantial profit from his works. His little record label Debut was a dream come true, allowing Mingus creative control.

Up until about the time of this album, Mingus was yet to fully blossom as a bandleader. His method of direction changed from having his band members read music off of the paper, to a freer, improv approach. This opened his music immensely.

It is apparent on this album that Mingus was in full hard bop swing. "Jump Monk" is a furiously swinging tune with a catchy theme. "Work Song" is another hard driver, with a nimble, cerebral rhythm.

This is among the best early period Mingus available. Also included in the extensive 12 disk Debut Box with extra tracks from this same date.

This is my favorite mingus album. I have worn out old albums and tapes listening to it. Music stores have said that the CD version doesn't exist. I am happy to have found it here!

Struggling with the rigors of owning and operating a record company, Charles Mingus was hard pressed to squeeze a substantial profit from his works. His little record label Debut was a dream come true, allowing Mingus creative control.

Up until about the time of this album, Mingus was yet to fully blossom as a bandleader. His method of direction changed from having his band members read music off of the paper, to a freer, improv approach. This opened his music immensely.

It is apparent on this album that Mingus was in full hard bop swing. "Jump Monk" is a furiously swinging tune with a catchy theme. "Work Song" is another hard driver, with a nimble, cerebral rhythm.

This is among the best early period Mingus available. Also included in the extensive 12 disk Debut Box with extra tracks from this same date.