Artist > Charles Mingus

1. WEDNESDAY NIGHT PRAYER MEETING 5:39

2. CRYIN' BLUES 4:58

3. MOANIN' 7:57

4. TENSIONS 6:27

5. MY JELLY ROLL SOUL 6:47

6. E'S FLAT AH'S FLAT TOO 6:37

1. WEDNESDAY NIGHT PRAYER MEETING 5:39

2. CRYIN' BLUES 4:58

3. MOANIN' 7:57

4. TENSIONS 6:27

5. MY JELLY ROLL SOUL 6:47

6. E'S FLAT AH'S FLAT TOO 6:37

John Handy, AltoSax
Booker Ervin, Tenor Sax
Richard Wyands, Piano
Dannie Richmond, Drums
Charles Mingus, Bass

1. NOSTALGIA IN TIMES SQUARE 12:00
2. I CAN'T GET STARTED 10:20
3. NO PRIVATE INCOME BLUES 12:40
4. ALICE'S WONDERLAND 9:00

1. HOG CALLIN'BLUES

2. DEVIL WOMAN

3. WHAM BAM THANK YOU MA'AM

4. ECCLUSIATICS

5. OH LORD DON'T LET THEM DROP THAT ATOMIC BOMB ON ME

6. EAT THAT CHICKEN

7. PASSIONS OF A MAN

1. HOG CALLIN'BLUES

2. DEVIL WOMAN

3. WHAM BAM THANK YOU MA'AM

4. ECCLUSIATICS

5. OH LORD DON'T LET THEM DROP THAT ATOMIC BOMB ON ME

6. EAT THAT CHICKEN

7. PASSIONS OF A MAN

1. PITHECANTHROPUS ERECTUS 10:41

2. A FOGGY DAY 7:53

3. PROFILE OF JACKIE 3:07

4. LOVE CHANT 14:56

1. PITHECANTHROPUS ERECTUS 10:41

2. A FOGGY DAY 7:53

3. PROFILE OF JACKIE 3:07

4. LOVE CHANT 14:56

1. HAITIAN FIGHT SONG

2. BLUE CEE

3. REINCARNATION OF A LOVEBIRD

4. THE CLOWN

1. HAITIAN FIGHT SONG

2. BLUE CEE

3. REINCARNATION OF A LOVEBIRD

4. THE CLOWN

1. TONIGHT AT NOON

2. INVISIBLE LADY

3. OLD BLUES FOR WALT'S TORIN

4. PEGGY'S BLUE SKYLIGHT

5. PASSIONS OF A WOMAN LOVED

1. TONIGHT AT NOON

2. INVISIBLE LADY

3. OLD BLUES FOR WALT'S TORIN

4. PEGGY'S BLUE SKYLIGHT

5. PASSIONS OF A WOMAN LOVED

1. Dizzy Moods

2.Ysabel's Table Dance

3.Tijuana Gift Shop

4.Los Mariachis

5.Flamingo

1. Dizzy Moods

2. Ysabel's Table Dance

3. Tijuana Gift Shop

4. Los Mariachis

5. Flamingo

Wednesday Night Prayer Meeting
Prayer For Passive Resistance
What Love?
I'll Remember April
Folk Forms I
Better Git Hit In Your Soul

'Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like Charles Mingus Presents Charles Mingus has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bass line kicks off 'Folk Forms No. 1,' followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. 'Original Faubus Fables' is serious in intent - a political attack on segregation governor Faubus - but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, 'What I Love?' and the outrageously titled 'All the Things Could Be by Now if Sigmund Freud's Wife Was Your Mother,' are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free.' - Review by Ronnie Lankford, Jr

1. Folk Forms, No. 1
2. Original Faubus Fables
3. What Love
4. All The Things You Could Be By Now If Sigmund Freud’s Wife Was Your Mother

This title is not eligible for further discount.

Impulse, the new record company founded by Bob Thiele, was where Charlie Mingus made his musical home at the end of 1962. And with his very first album, entitled “The Black Saint And The Sinner Lady”, the double bass player produced a masterwork of the very highest order; this time it was his compositional talent rather than his instrument which was in the limelight. He added a good portion of rhythmic variety to the melodiousness of his ‘hero’ Duke Ellington and then added a touch of politics, for even in 1963 slavery had by no means been fully abolished in ‘American Society’! That is the explanation for the title of the suite – a harking back to African roots, the struggle for human rights for black people on all levels of political and cultural society, and a vision of ‘Freedom Day’!Though Charlie Mariano’s tenor saxophone is spotlighted soloistically, it is really the varying timbres and changes in tempo that make all 39 minutes of this LP a sheer pleasure to listen to.

But Charlie Mingus does not demand that his public merely sit and listen to his music; he wants them to get up and dance to it. No, it’s not ballet music – more an inspiration for expressing oneself in movement.

The old Impulse pressings with their wonderful gatefold sleeves were almost always disappointing from a technical point of view because the LPs contained too much re-cycled vinyl. Now, after almost 40 years, we have the opportunity to bestow the studio technique with the recognition it deserves. This is the music that everyone always wanted to take with them on their desert island.

This title is not eligible for further discount.

Charles Mingus’s name appears no less than five times on the record sleeve! His vanity may be open to criticism, but in the case of this particular disc, the Impulse record company was quite right to place him so forcefully in the limelight: Charles Mingus, who died in 1979, is here composer, bass player, arranger, leader and ‘animal tamer’. He composed six of the seven numbers - if you can call it ‘composing’, that is, when he sings the harmonies over the telephone or plays them to his musicians, only to demand exactly the opposite from them in the recording studio! As a bass player, his meaty sound drives the soloists onwards, only for him to change the tempo abruptly at the very next moment, and forcing them to change their well-trodden improvisational path.

He learned to arrange music from Duke Ellington, whose way of working he adopted: notes are not set down for just anyone to play, but for a specific musician. And here we have the crème de la crème: Booker Ervin, Eric Dolphy and Charlie Mariano.

As a leader, Mingus created his own special moments such as when he forces the whole ensemble to follow him in his spontaneous, contrapuntal ideas.

And during the whole of his life he felt like an animal tamer in the music pit. At these recording sessions in January and September 1963, real personalities sat on the stools - and Messrs. Byard, Williams, Preston and Richmond were by no means meek little creatures.

Looking for a tip as to which title to play first? What else can one say but ‘try them all’. They’re all great! And the pressing too, is absolutely first rate, with none of the streaks that the old Impulse vinyl records always had. One is only too willing to forego the wishy-washy sound that is found on so many of the cheap re-releases - you’ll find that the playing of the ensemble is crystal-clear on this album!

1. II B.S.
2. I X Love
3. Celia
4. Mood Indigo
5. Better Get Hit in Yo' Soul
6. Theme for Lester Young
7. Hora Decubitus

This title is not eligible for further discount.

Arguably Mingus' greatest recording! Features performances by John Handy, Booker Ervin, Jimmy Knepper, Horace Parlan, Dannie Richmond and many others. Compositions include "Goodbye Pork Pie Hat," "Better Git It In Your Soul," "Fables Of Faubus," "Jelly Roll" and other classics.

Track Listing:

1. Better Git It in Your Soul

2. Goodbye Pork Pie Hat

3. Boogie Stop Shuffle

4. Self Portrait in Three Colors

5. Open Letter To Duke

6. Bird Calls

7. Fables of Faubus

8. Pussy Cat Dues

9. Jelly Roll

"Mingus is also all about the ensemble...this reissue has a life and immediacy I've not heard before with this title, whose stunning music overwhelms any flaws of the recording." - Wayne Garcia, The Absolute Sound, June/July 2009

Produced by Impulse! A&R director Bob Thiele in 1963, this recording is a major showcase of the talented Charles Mingus as a bassist, pianist and writer. In his 1963 original liner notes, critic-at-large Nat Hentoff said that of all the musicians, it is impossible to remain indifferent to Mingus. This recording more than any other testifies to Hentoff's claim. More so today than in 60's, there is truly only one Mingus, Mingus, Mingus, Mingus, Mingus.

Charles Mingus, bass, piano, vocals Jay Berliner, guitar Don Butterfield, trombone, tuba Jaki Byard, piano Eric Dolphy, flute, alto saxophone Rolf Ericson, trumpet Booker Ervin, tenor saxophone Dick Hafer, clarinet, flute, oboe, tenor saxophone Quentin Jackson, trombone Charlie Mariano, alto saxophone Walter Perkins, drums Eddie Preston, trumpet Jerome Richardson, flute, baritone saxophone, soprano saxophone Dannie Richmond, drums Richard Gene Williams, trumpet Britt Woodman, trombone

Track Listing:

1. II B.S.
2. I X Love
3. Celia
4. Mood Indigo
5. Better Get Hit in Yo' Soul
6. Theme for Lester Young
7. Hora Decubitus

This title is not eligible for further discount.

One of the most controversial and difficult musicians in jazz, Charles Mingus was also one of the most prolific, and perhaps the greatest bass player jazz has ever known. Released shortly after his groundbreaking Pithecanthropus Erectus, which marked the dawning of Mingus' era as a major player in jazz, The Clown took it to the next level and as a result captured some of the finest music Mingus ever made. Listeners can now enjoy the complete sessions for the album, recorded on Feb 13 and March 12, 1957. Uniquely for a jazz player of this period, this album is comprised entirely of Mingus-penned tracks, including the explosive “Haitian Fight Song” and his tribute to Charlie Parker “Reincarnation of a Lovebird,” while the title track features a spoken word piece by Jean Shepherd.

Track Listing:

1. Haitian Fight Song
2. Blue Cee
3. Reincarnation Of A Lovebird
4. The Clown
5. Passions Of A Woman Loved
6. Tonight At Noon

Track Listing

1. Jump Monk
2. Serenade In Blue
3. Percussion Discussion
4. Work Song
5.Septemberly
6. All The Things You C Sharp minor

Import

Originally released in 1957 on the Bethlehem label, this obscure album shows Charles Mingus exploring new territory with his sextet while incorporating vocals into his work. On the opening track, "Scenes In The City," Mel Stewart performs a spoken word piece written by actor and playwright Lonne Elder III and the legendary Langston Hughes. The track is a snapshot of Harlem and NYC in the 1950s and for that alone this album stands out in the Mingus repertoire. Although the rest of the album features no spoken word or poetry, the performances here are top notch.

Charles Mingus A Modern Jazz Symposium of Music and Poetry Track Listing

1. Scenes in the City
2. Nouroog
3. New York Sketchbook
4. Duke's Choice
5. Slippers

Composer and bass player Charles Mingus recorded East Coasting for Bethlehem in 1957, in between such classics as Tijuana Moods and Mingus Ah Um. In addition to featuring an early version of "Celia" along with some numbers he never recorded again, East Coasting is notable for the presence of pianist Bill Evans, who briefly worked for Mingus before joining Miles Davis for the landmark Kind Of Blue.

Charles Mingus East Coasting Track Listing

1. Memories Of You
2. East Coasting
3. West Coast Ghost
4. Celia
5. Conversation
6. Fifty-First Street Blues

With Dannie Richmond on drums and Hampton Hawes on piano (Sonny Clark plays only on "I Can't Get Started") these 1957 NYC recordings represent Charles Mingus' trio lineup at its absolute best. Don't forget this is the year when East Coasting, Tijuana Moon and A Modern Jazz Symposium were released, proving 1957 to be an incredibly inspiring year for the man who reinvented double bass as a front line instrument. Remarkable in the trio formation are Mingus' powerful solos and hectic dialogues with Richmond's drumming.

Track Listing:

1. Yesterday's
2. Back Home Blues
3. I Can't Get Started
4. Hamp's New Blues
5. Summertime
6. Dizzy Moods
7. Laura

Track Listing:

1. Perdido (Live)
2. Salt Peanuts
3. All The Things You Are 52 And Street
4. Wee (Live)
5. Hot House (Live)
6. A Night In Tunisia (Live)