Charles Mingus Best

Charles Mingus' finest recordings of his later period are two Atlantic LPs, Changes One and Changes Two. The first volume features four stimulating Mingus originals ("Remember Rockefeller at Attica," "Sue's Changes," "Devil Blues," and "Duke Ellington's Sound of Love") performed by a particularly talented quintet (tenor saxophonist George Adams who also sings "Devil Blues," trumpeter Jack Walrath, pianist Don Pullen, drummer Dannie Richmond, and the leader/bassist). The band has the adventurous spirit and chance-taking approach of Charles Mingus' best groups, making this an easily recommended example of the great bandleader's music.

This pair of 1960 studio sessions represents some of Charles Mingus' best arrangements. Leading the smaller of two groups, he interpolates "Exactly Like You" into a driving version of "Take the 'A' Train" and adds a soulful blues, "Prayer for Passive Resistance," both of which feature great solos by tenor saxophonists Booker Ervin, Yusef Lateef, and Joe Farrell…

Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate accessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um. The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin; trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan; and drummer Dannie Richmond…

Having completed what he (and many critics) regarded as his masterwork in The Black Saint and the Sinner Lady, Charles Mingus' next sessions for Impulse found him looking back over a long and fruitful career. Mingus Mingus Mingus Mingus Mingus is sort of a "greatest hits revisited" record, as the bassist revamps or tinkers with some of his best-known works. The titles are altered as well - "II B.S." is basically "Haitian Fight Song" (this is the version used in the late-'90s car commercial); "Theme for Lester Young" is "Goodbye Pork Pie Hat"; "Better Get Hit in Your Soul" adds a new ending, but just one letter to the title; "Hora Decubitus" is a growling overhaul of "E's Flat Ah's Flat Too"; and "I X Love" modifies "Nouroog," which was part of "Open Letter to Duke"…

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.

Along with its companion volume Changes One, this is one of the great sessions from one of the best working bands of the 1970s. Starting with the spirited "Free Cell Block F, 'Tis Nazi U.S.A," this volume also includes the vocal version of "Duke Ellington's Sound of Love" with guest singer (and acquired taste) Jackie Paris, a remake of the classic Mingus composition "Orange Was the Color of Her Dress, Then Silk Blue," Jack Walrath's "Black Bats and Poles," and Sy Johnson's "For Harry Carney." The challenging repertoire from these December 1974 dates sustained the Jazz Workshop for several years; these are the definitive performances.

Candid may not have the same name brand recognition as, say Blue Note or Impulse! But during its brief existence (roughly 1960 to 1963), the label made its mark on the jazz and blues worlds—as a recent series of remastered reissues, including LPs by Abbey Lincoln, Max Roach, Lightnin’ Hopkins and Otis Spann, ably demonstrates. The cream of the crop is Charles Mingus Presents Charles Mingus, recorded in October 1960 and released the following year. It’s a thoroughly crackling affair, highlighting the composer at one of his many peaks and featuring an awesome lineup of musicians: Mingus’ trusted drummer Dannie Richmond, underrated trumpet player Ted Curson, and—best of all—the inimitable alto sax and bass clarinet stylings of Eric Dolphy.

Although vibraphonist Red Norvo had been on records for nearly 20 years and had been a pacesetter in both swing and bop, it was when he formed his trio with guitarist Tal Farlow and bassist Charles Mingus in 1950 that he found the perfect setting for his vibes.
The Red Norvo Trio with Tal Farlow and Charles Mingus chronicles his 1950-51 recordings with the innovative guitarist and bass player, and are among the most influential examples of what has come to be known as chamber jazz. When economic conditions made touring with a sextet impossible, Norvo decided to dispense with a rhythm section. In Farlow and Mingus he found players who shared his fascination with sophisticated harmonies, and were able to hang with him at the brisk tempos he favored…

Having completed what he (and many critics) regarded as his masterwork in The Black Saint and the Sinner Lady, Charles Mingus' next sessions for Impulse found him looking back over a long and fruitful career. Mingus Mingus Mingus Mingus Mingus is sort of a "greatest hits revisited" record, as the bassist revamps or tinkers with some of his best-known works…