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
8. Freedom

Product Details

• Amazon Sales Rank: #65628 in Music
• Released on: 2007-03-19
• Number of discs: 1
• Running time: 45 minutes

From Amazon.com
Cobbled from two sessions in 1963, this is one of Charles Mingus's stormiest recordings. From the blues-painted bass moaning that opens "II BS," a faster vamp on "Haitian Fight Song," to the blazing fire of "Hora Decubitis," these tunes come furiously barreling out one after another. Speed and density aside, however, there are also multicolor, lovely tunes like Ellington's "Mood Indigo" and Mingus's paean to Lester Young (elsewhere dubbed "Goodbye Porkpie Hat"). More than anything, though, this is a major document thanks to the presence of the big ensemble, harmonized by the late Jaki Byard on piano and fronted by a herd of horn-players, Eric Dolphy and Booker Ervin chief among them. --Andrew Bartlett

CD Description
For bassist/composer Charles Mingus, many of the leading edge trends of the late '50s-early '60s did not significantly alter his musical outlook--an outlook he had been nurturing since the 1940s when he first made his mark as Baron Mingus."Mingus, The Composer" was Charlie Parker's affectionate commission for the Californian bassist, who first made waves with "Mingus Fingers" for Lionel Hampton's big band in 1948. As a result, when Miles came along with fresh notions of modality, Mingus could point to his own decade-long work with pedal point. Likewise, when Ornette Coleman introduced his free form, non-chordal approach to blues and modern jazz, Mingus responded with his legendary Booker Ervin/Eric Dolphy/TedCurson/Dannie Richmond ensemble (MINGUS AT ANTIBES), extending on ideas he'd been developing for years ("Pithecanthropus Erectus").
Part of what makes MINGUS MINGUS MINGUS MINGUS MINGUS such a rich, enduring, listening experience is in the way it delineates the major themes and streams in Mingus' writing, and all of his idiomatic gestures and tonal colours. The rough-hewn polyphony of "II B.S". (a kissing cousin of "Haitian Fight Song") is driven along by the composer's indomitable, thrusting bass line, reflecting the experience of early New Orleans ensembles. Multiple voices syncopate to create a rich melodic fabric and ferocious rhythmic intensity, spotlighting the sanctified tenor voice of Booker Ervin. On his own "I X Love" and a brilliant cover of Ellington's "Mood Indigo", Mingus displays a genius for film noir textures and elaborate timbral contrasts worthy of the Duke.
"Celia" also begins with Ellingtonian plumage, but in its use of contrasting tempos and wildly divergent reed and brass voicings (from tuba and baritone sax on up to flutes and oboes)Mingus zeroes in on his own particular brand of emotional turbulence. In a corresponding mode, there's his rocking arrangement of "Better Get Hit In Yo' Soul", with its fleet 6/8 pulse, old time hosannas and the roaring commentary of an unruly congregation. Equally famous is Mingus' tender portrayal of Lester Young on "Goodbye Porkpie Hat", with its piping reeds, moaning brass and signature Ervin solo. Mingus announces "Hora Decubitus" with some resounding double-stops, before launching into a fierce display of swing and ensemble interplay, culminating in some Eric Dolphy fireworks. And in a remarkable coda to the original sessions, there's the dark poetry of an unissued "Freedom", with its evocation of work songs, the liberating beat of modern jazz, and the joyous release of the blues.

Customer Reviews

Great Great Great Great Great
I love Mingus, and this album is one of the main reasons why.

It's highly accessible. It's fun. It's got deep blues and deep soul. You can dance to this. It's got great orginal songs. It has a heart-melting standard.

I highly recommend this as an introduction to Mingus, along with "Ah Um".

There's also an 8th bonus track "Freedom"

One of THE great 'modern jazz' records.
Tremendously exciting CD. First bought it on vinyl in the seventies, and it still sounds amazing. You will be hooked from the opening track. Other highlights include Mingus' virtuoso bass-playing on Ellington's 'Mood Indigo', and 'Theme For Lester Young', a very moving version of his 'Goodbye Pork Pie Hat', reportedly composed on stage as he heard of the death of a fellow genius. Best of all is 'Better Get Hit In Yo' Soul'. A tune he recycled many times, but this is my favourite version: a true tour-de-force by a magnificent line-up. This track is a life affirming celebration of all that is good in jazz. And just when you think it's all over, it kicks off again in a New Orleans stylee. Highly recommended. You don't know if you like jazz? Buy this. You will!

An accomplished and exciting session from a jazz genius.
"Mingus Mingus Mingus Mingus Mingus" was released in 1963 as a kind of artist's own greatest hits. It features some of Mingus' most well-known and acclaimed compositions, reconsidered and reprised by Mingus and one of the finest ensembles he ever led.

The opener "II B.S." is actually "Haitian Love Song", an earlier piece, although this is perhaps the definitive version. It is a superb, rhythmically focused track, which swings relentlessly, featuring an immensely catchy melody line, and some classic ensemble harmonies. Mingus himself is in powerful form. Mingus' take on the Ellington classic "Mood Indigo" comes close to perfection, with regular pianist Jaki Byard and Mingus himself working as a wonderfully cohesive unit - the melody is phrased exquisitely on bass, and Walter Perkins contributes some excellent brush-work. "Better Get Hit In Yo' Soul" is taken considerably up-tempo from the better known recording on "Mingus Ah Um", and the group handles it flawlessly, although the alternative ending is not to my personal taste. "Theme for Lester Young" is better known as "Goodbye, Pork Pie Hat", and this is as fine a performance of the slow, graceful elegy as Mingus ever produced. "Freedom" is an overtly political piece, and may seem out of place to some listeners.

This album does not quite fall into the Mingus top bracket, mainly because of the lack of new material, but is a brilliant session, featuring some interesting takes on his own favourites of the time. The band assembled here is a tremendously tallented and experienced one, and familiar with the material, they produce a stunning performance - seldom matched in any session. "The Black Saint and the Sinner Lady", "Mingus Ah Um", "Pithecanthropus Erectus" and "Tijuana Moods" are perhaps all more significant albums, but this is a great release, and a good place to start listening to this jazz giant.