"In the '50s, the party line among New York jazz critics was that hard bop was the 'true faith' and that cool jazz was lightweight and unemotional. But Miles Davis knew better. The trumpeter was smart enough to realize that cool jazz and hard bop were equally valid parts of the house that Charlie Parker built, and he had no problem working with cool jazzmen one minute and hard boppers the next. "Blue Moods" is an excellent example of cool jazz. However, although vibist Teddy Charles was cool-oriented, Mingus (upright bass) and Elvin Jones (drums) were never considered cool players - and the lyrical trombonist Britt Woodman was best known for his work with Duke Ellington. Nonetheless, the things that characterized cool jazz - subtlety, restraint, and understatement - characterize "Blue Moods". Mingus and Jones were certainly capable of being forceful and aggressive, but you won't hear them being intense here; a very laid-back, gently introspective approach prevails." (Alex Henderson, Allmusic; 4 uit 5 sterren)
"Inspired by a trip to Tijuana, this was recorded in 1957 but was sat on by RCA until its release in 1962. Bassist/composer Mingus at the time said that this was his greatest recording, and it certainly ranks near the top. The original version (which was usually edited together from a few different takes) consisted of just five performances. In 2001, it reappeared as this double CD with 12 performances. It has often been said that Mingus forced and pressured his sidemen to play above their potential, and that is certainly true of this project. Completing the band is Ysabel Morel on castanets. The passionate playing, exciting ensembles, and high-quality compositions make this a real gem. In addition, this double-CD includes the recently discovered "A Colloquial Dream," an early version of a spoken word piece later called "Scenes in the City". This stirring music belongs in every jazz collection, for it does represent one of Charles Mingus' finest hours." (Scott Yanow, Allmusic)
3 albums uit 1954-57 op 2CD's. In het midden staat de oudste, "Jazz Experiments": "These 1954 sessions include Thad Jones (t) and John LaPorta (cl, as) and combine old and new forms of classical and jazz. "Pithecanthropus Erectus" (1956) was Mingus' breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. He began seeking new ways to increase the evocative power of his art and challenge his musicians (a.o. Jackie McLean (as) and Mal Waldron (p)) to work outside of convention. "The Clown" (1957) was Mingus' second masterpiece in a row, upping the already intense emotional commitment of "Pithecanthropus" and burning with righteous anger and frustration. Even his most impressionistic forays have a strong storytelling quality. In fact, the title cut makes that explicit with a story verbally improvised by Jean Shepherd from a predetermined narrative." (Allmusic)
Opname: 1959
Album uit 1964 met 2 sessies: uit 1957 (t.t.v. "The Clown") en 1961 (t.t.v. "Oh Yeah"). Niet zomaar outtakes, maar interessant werk met divers karakter. Zo is het openende titelstuk wild, quasi-chaotisch en relatief vrij, terwijl de afsluiter uit dezelfde 1957-sessie juist traditioneler en Ellingtoniaans aandoet. De tussenliggende 1961-stukken varieren van slepend bluesy tot ingehouden cool. Tombonist Jimmie Knepper excelleert in alle stukken, saxofonist Roland Kirk soleert boeiend in de 1961-stukken.
"De herontdekking van deze opnamen is te vergelijken met de ontdekking van een nieuwe Picasso of een partituur van Bach. Overdreven? Helemaal niet. Mingus is de belangrijkste bassist van de jazz, zijn composities zijn geniaal en de opname is uit een cruciale periode, met zijn meest creatieve band ooit: het sextet dat naam maakte met een tumultueuze Europese tournee waarbij de bassist hotels en kleedkamers beschadigd achterliet, trompettist Johnny Coles moest worden opgenomen in het ziekenhuis en Eric Dolphy in Europa achterbleef, waar hij enkele weken later overleed. Muzikaal was het echter een toptijd. T.t.v. deze opnamen stonden ze met frisse moed aan de vooravond van die tour. Johnny Coles speelde nog mee. Het sextet klinkt verbluffend groots. Orkestraal bijna. Mingus muziek vertoonde absoluut avant-gardistische kenmerken: vrije aanpak, tempowisselingen, outside-improvisaties. Maar evenzeer was dit sextet diep geworteld in blues en roots, en kon het vooral keihard swingen." (Koen Schouten, Volkskrant)
"The complex music on this album 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 2000 reissue boasts improved sound and a bonus track: an alternate take of "Body and Soul"." (Scott Yanow, Allmusic)
5 Sterren (maximale waardering) op allmusic. "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"; "Theme for Lester Young" is "Goodbye Pork Pie Hat"; "Better Get Hit in Your Soul" adds a new ending; "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." There's also a cover of Ellington's "Mood Indigo," leaving just one new composition, "Celia." So what exactly makes this a significant Mingus effort? The answer is that the 11-piece bands assembled here are among Mingus' finest, featuring some of the key personnel (Eric Dolphy, pianist Jaki Byard) that would make up the legendary quintet/sextet with which Mingus toured Europe in 1964. And they simply burn, blasting through versions that equal and often surpass the originals." (Steve Huey, Allmusic)
Invloedrijk album uit 1959, met o.a. het overbekende "Goodbye Pork Pie Hat" (opgedragen aan de toen pas overleden saxofonist Lester Young). De componist/bassist werkt hier samen met o.a. pianist Horace Parlan, saxofonist John Handy en trombonist Jimmy Knepper. Deze editie uit 1998 is eigenlijk de eerste juiste uitgave van het album, omdat op oudere uitgaven diverse tracks ingekort waren. bovendien zijn drie extra stukken uit de sessies aan het album toegevoegd.
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