Mingus Three

In spite of the electric guitars, which don't really fit that well, the title track is one of the more successful Charles Mingus efforts at extended composition. The list of section titles for the work is a valuable document in itself; it includes the "Super Bebop Blues (Check Bird Out)" with George Coleman and the dudes who are advancing group improvisation, while USA press ignores them. And still does. Not his best work, but not without merit.

Charles Mingus - Three or Four Shades of Blues (1977) {2013 Japan Jazz Best Collection 1000 Series WPCR-27206}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 272 Mb | MP3 @320 -> 107 Mb
Full Artwork @ 300 dpi (jpg) -> 11 Mb | 5% repair rar | 24bit remaster
© 1977, 2013 Atlantic / Rhino / Warner Japan / WEA | WPCR-27206
Jazz / Post Bop / Post Bebop / Jazz Blues / Bass

Features 24 bit remastering and comes with a mini-description. I have almost everything available by Mingus and had passed on this because I didn't think I needed yet more versions of some of his classics by what seems like an unlikely crew in tow. How wrong I was!!!! Mingus is apparently playing with a mic on his bass and you can easily hear what a monster he is, how sublime he can be, and it is totally thrilling. Coryell and Catherine have their flurry of notes thing going but it does not come off as showing off or dull fusion riffing. They - and the rest of the band- sound as if they were meant to be, really listening and bringing something wonderfully new to Mingus music.

This set is the finest recording by one of Charles Mingus' greatest bands, his sextet with Eric Dolphy (on alto, bass clarinet, and flute), tenor saxophonist Clifford Jordan, trumpeter Johnny Coles, pianist Jaki Byard, and drummer Dannie Richmond. Taken from their somewhat tumultuous but very musical tour of Europe, most of these rather lengthy workouts actually just feature a quintet because Coles took sick (he is only heard on "So Long Eric," which here is mistitled "Goodbye Pork Pie Hat"), but the playing is at such a high level that the trumpeter is not really missed. "Orange Was the Color of Her Dress" is given definitive treatment, and the nearly 29-minute "Fables of Faubus" and Mingus' relatively brief feature on "Sophisticated Lady" are impressive, but it is the passionate "Meditations on Integration" (an utterly fascinating performance) and "Parkeriana"…

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.

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. One of the things that separates even a conservative (relatively speaking) Mingus effort from its peers is the babble of instrumental voices on a tune like "West Coast Ghost," with horns bursting from one speaker while the drums and bass thump madly from the other…

In 1973 Atlantic Records began its second period of recording with Mingus, which resulted in seven studio albums. The story of a new phase in Mingus’ music – his last phase – begins with the recordings in this boxed set. Featuring all of his 1970s output for Atlantic Records, all configurations of the album include previously unreleased outtakes of “Big Alice,” “The Call” and “Music For Todo Modo.” There is also an extra set of takes of “Big Alice” and “The Call” on an Outtakes disc exclusive to the vinyl format.