Charles Mungus Presents Charles Mingus

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.

This 2-CD set takes the 1974 album Mingus At Carnegie Hall (Atlantic) and adds seventy minutes of previously unissued material recorded at the same concert.
Mingus led many great bands during his career, but those from the the late 1950s and early 1960s have tended to be perceived as representing his belle epoque, overshadowing some equally outstanding later aggregations. One of these is Mingus' mid 1970s quintet with trumpeter Jack Walrath, tenor saxophonist George Adams, pianist Don Pullen and drummer Dannie Richmond, who are featured on the 1975 portion of the Bremen set. The previous year, Mingus led a sextet including Adams, Pullen and Richmond, in which Jon Faddis was the trumpeter and Hamiet Bluiett played baritone saxophone…

The Lost Album From Ronnie Scott's is an unreleased live recording of jazz icon Charles Mingus from Ronnie Scott's jazz club in London captured in August 1972. It features alto saxophonist Charles McPherson, tenor saxophonist Bobby Jones, trumpeter Jon Faddis, pianist John Foster, and drummer Roy Brooks.

The Lost Album From Ronnie Scott's is an unreleased live recording of jazz icon Charles Mingus from Ronnie Scott's jazz club in London captured in August 1972. It features alto saxophonist Charles McPherson, tenor saxophonist Bobby Jones, trumpeter Jon Faddis, pianist John Foster, and drummer Roy Brooks.

The complete long unavailable concert by Charles Mingus and Eric Dolphy at the Salle Wagram, in Paris, for the first time ever on a single collection. As a bonus, we have added the two complete sets by the Chico Hamilton Quintet with Dolphy at Newport '58, including an extended previously unissued version of "Pottsville U.S.A." on which Dolphy plays a long solo on alto sax.

After several sessions with Columbia and Candid, Charles Mingus briefly returned to Atlantic and cut the freewheeling Oh Yeah, which has to rank as the wildest of all his classic albums. Mingus plays no bass whatsoever, hiring Doug Watkins to fill in while he accompanies the group on piano and contributes bluesy vocals to several tracks (while shouting encouragement on nearly all of them). Mingus had always had a bizarre sense of humor, as expressed in some of his song titles and arranging devices, but Oh Yeah often gets downright warped. That's partly because Mingus is freed up to vocalize more often, but it's also due to the presence of mad genius Roland Kirk…

A live performance at the Club Bohemia in New York, this is the first Mingus recording to feature mostly his own compositions. Some are his future standards. Here are his first attempts at future techniques such as combining two songs into one. His bass playing really stands out.

The Charles Mingus Quintet & Max Roach is an album by Charles Mingus, recorded at the Café Bohemia in December 1955 and released in 1964. Further recordings from the concert were released under the title Mingus at the Bohemia. The Mingus/Roach/Mal Waldron dialogs overcome the ordinary stylings of Eddie Bert and George Barrow.