Charles Lusthaus

Bassist, composer, arranger, and bandleader Charles Mingus cut himself a uniquely iconoclastic path through jazz in the middle of the 20th century, creating a musical and cultural legacy that became universally lauded. As an instrumentalist he had few peers - he was blessed with a powerful tone and pulsating sense of rhythm, capable of elevating the instrument into the frontline of a band. Intensely ambitious yet often earthy in expression, simultaneously politically radical and deeply traditional spiritually, Mingus' music took elements from everything he had experienced - from gospel and blues, New Orleans jazz, swing, bop, Latin music, modern classical music, and even the jazz avant-garde, and adapted it for ensembles ranging from trios and quartets to sextets and orchestras…

These four CDs represent the most creative period of Ray Charles’ life – roughly 1954 to 1962. He died in 2004 and, at the time of his death, was working on a duets album which was released, very appropriately, as Genius And Friends. When the excellent bio-pic, Ray was released with Jamie Foxx, one of the straplines was a quote from Frank Sinatra, “Ray Charles is the only genius in our business.”

Charles Mingus' three albums for Bethlehem have the misfortune of being sandwiched between albums like New Tijuana Moods and Mingus Ah Um. The music on these three discs, recorded in the mid-to-late '50s, is quieter and less volatile when compared to these other albums. Bill Evans' appearance on East Coasting gives the listener a chance to sample his style a few months before he went to work for Miles Davis. His non-bluesy tone and mellow approach would seemingly be the antithesis of Mingus' modus operandi, but it works well here. He kicks off "East Coasting" with his distinct touch before giving way to the heavy percussion of the ever-explosive Dannie Richmond…

The complex music on this LP finds bassist Charles Mingus looking toward contemporary classical music in some of the rather cool-toned arrangements. It was not until later in 1955 that he found the right combination of influences in which to express himself best but these slightly earlier performances have their moments. Four of the selections feature tenor-saxophonist Teo Macero, pianist Wally Cirillo, drummer Kenny Clarke and Mingus in a quartet while the other five tracks showcase a sextet with Macero, George Barrow on tenor and baritone and clarinetistaltoist John La Porta.

The elusive Chicago harpist's one and only full-length album, originally issued on Steve Wisner's short-lived Mr. Blues logo and later picked up by Rooster Blues (but not available on CD as yet). Cut in 1975, this set shows that Charles never left the 1950s stylistically – backed by a nails-tough combo, he pays tribute to both Sonny Boys and his ex-boss Jimmy Rogers while betraying more than a hint of Little Walter influence.