|
|
viewing 1 To 25 of 33 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
DMOO 038LP
|
Reissue, originally released in 1962. Recorded in New York in 1957 (though not released until 1962), Tijuana Moods was, according to Charles Mingus himself, "the best album I ever made." The music is a vigorous stew of Mexican rhythms and sophisticated post-Ellington arrangements, further invigorated by the soloing of trumpeter Clarence Shaw, trombonist Jimmy Knepper, and, particularly, saxophonist Shafi Hadi. Mingus's vision of Tijuana was clearly sensual, the music evoking strippers, frenetic street scenes, and heart-broken lovers. Making use of suite like thematic material and various forms of counterpoint, the group sounds much larger than it is, and points toward Mingus's later experiments with form. the bristling sound and spirit of the music, however, are its primary attractions -- a remarkable place where Mexican fantasy and hard bop meet. Clear vinyl; numbered.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DMOO 049LP
|
Reissue, originally released in 1962. Charles Mingus brought together an amazing lineup spanning the totality of the nation's jazz scene with such luminaries as Eric Dolphy, Buddy Collette, Clark Terry, Zoot Sims, Pepper Adams, Jaki Byard, Grady Tate, and more. Brought together to perform new Mingus compositions for the first time in public, the recording was initially considered weak due to limited rehearsal time but the years have been kind to this recording and it's a fantastic set of Mingus compositions, including the powerful "Freedom" which rivals the works on Mingus Ah-Um (1959) for its strength of purpose and message, in a similar vein to Max Roach's legendary We Insist! album (1960). Mingus is one of the most important figures in 20th century music and this live recording documents his compositional and arranging process as well as sheer swinging joy. Clear vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOW 033LP
|
Reissue, originally recorded and released in 1957. One of Charles Mingus's lesser-known sessions. Here the master was at the head of an awesome band including some of his regular sidemen. Features Jimmy Knepper (trombone), Shafi Hadi (alto saxophone, tenor saxophone), and Dannie Richmond (drums), along with nothing but Bill Evans on piano. This is dense, lyrical, and very stimulating music deeply rooted in the bop tradition yet with an open ear to other sound territories. Limited clear vinyl edition.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
GET 51339LP
|
2021 repress. "Double LP housed in a gatefold jacket. Mingus Ah Um, the artist's 1959 debut for Columbia is one of the most consequential albums in jazz or any other genre. The release is part of the Library of Congress National Recording Registry and has been inducted into the Grammy Hall of Fame. 'Goodbye Pork Pie Hat', 'Boogie Stomp Shuffle', 'Open Letter To The Duke'... the release is packed with classics and is a best-selling release to this day. Get On Down presents Ah Um Redux, the full Ah Um record as you know and love it with a second LP featuring alternate takes from the session previously unreleased on vinyl."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP BOX
|
|
UD1S 2010LP
|
"Mastered from the original master tapes for definitive sound quality. Pressed at RTI on MoFi SuperVinyl-Deluxe Collector's Set. Includes Opulent Box and Foil-Stamped Jackets. Blues- and gospel-rooted jazz brilliance sparks with diversity, personality, and freedom. 'Better Git It in Your Soul' not only serves as the name of the inviting opening track of Mingus Ah Um. It epitomizes the spirit, urgency, freedom, and feel-it-in-your-bones passion of an album that is cited on practically every 'greatest' list assembled and enjoys the rare distinction of wearing a prestigious crown in the Penguin Guide to Jazz and membership in the Grammy Hall of Fame. The vaunted 1959 record stands as an exuberant tribute to the idea (and blueprint-caliber execution) of fully realized musical frameworks serving as launching pads for expressive interactions, responses, exchanges, and improvisations. At the core, personality, character, invention, and color remain paramount. Strictly limited to 6,000 numbered copies and pressed on MoFi SuperVinyl, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step collector's edition box set makes Mingus Ah Um pop with unprecedented vibrancy, command, energy, and scale. The bassist's church-music roots spring to life in the form of blues themes, moaned vocals, spiritual motifs, and preacher-inspired riffs that register with hyper-realistic dimensionality and natural intimacy. Experienced as a seamless whole, the band enters your listening room, its intertwined assembly of notes, phrases, pauses, shapes, and solos yielding something more than music. What you hear is the formation of aura and atmosphere traditionally only associated with live concerts. As such, the collective's technical acumen lingers not only in the mind, but invigorates the senses."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FOX 036LP
|
For the first time on vinyl, Charles Mingus's great score for the legendary 1959 directorial debut of John Cassavetes, Shadows. Much has been said about the controversial relationship between these two masters. "The score encapsulates Cassavetes's and Mingus's unique approaches to both improvisation and composition in their respective media, illuminating the oppositional nature of jazz to mainstream cultural production and the underbelly of race relations in 1950's America" --Ross Lipman
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DAD 135LP
|
Created in 1952 by bassist Charles Mingus and drummer Max Roach, Debut label was a first attempt by jazz musicians to get their music recorded and released under their own control. It was a short-lived experiment (1952-1957) that produced some memorable works. The vibrant spirit of Mingus lives through this great selection of rare Debut recordings with himself as leader of two different line up (quintet/octet) and as bassist of the Hank Jones Trio and the Thad Jones Quintet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DAD 132LP
|
Charles Mingus brought together an amazing lineup spanning the totality of the nation's jazz scene with such luminaries as Eric Dolphy, Buddy Collette, Clark Terry, Zoot Sims, Pepper Adams, Jaki Byard, Grady Tate, and more. Brought together to perform new Mingus compositions for the first time in public, the recording was initially considered weak due to limited rehearsal time but the years have been kind to this recording and it's a fantastic set of Mingus compositions, including the powerful "Freedom" which rivals the works on Mingus Ah-Um (1959) for its strength of purpose and message, in a similar vein to Max Roach's legendary We Insist! album (1960). Mingus is one of the most important figures in 20th century music and this live recording documents his compositional and arranging prowess as well as sheer swinging joy.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WLV 82113LP
|
Wax Love present a reissue of Charles Mingus's Right Now: Live At The Jazz Workshop, originally released in 1966. "With Clifford Jordan on tenor, John Handy on alto, Jane Getz on piano, and Dannie Richmond on drums, Charles Mingus went into San Francisco and whipped up a storm. This LP contains two compositions over 23-minutes each: 'New Fables' and 'Meditation (For A Pair Of Wire Cutters)'. 'New Fables' features a ten-minute solo from Jordan, some fine ensemble work, and a solo encounter from Handy. Mingus changes the mood as he sees fit, and one would describe these different styles as avant-garde (in 1964), blues, flamenco, and straight-ahead jazz. Handy's work is stirring, deeply imaginative, technically thrilling, and a harbinger of what was to come the following year at Monterey. In 'Meditations' Mingus bowing the bass in the cello range with that certain sad quality, Jane Getz playing loose, free, and exciting, much as she does today, and a moment where Mingus joins Getz for a fourhanded piano romp. The piece is a flowing ballad, but there are constant changes throughout..." -AllAboutJazz
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WLV 82111LP
|
The great bassist and band leader Charles Mingus cut some of his most exciting and rewarding recordings in 1960. Taped during the apex of Mingus's creativity, shortly after masterstroke Mingus Ah Um (1959), just before his brilliant Oh Yeah (1962), and in the same year as the classic Blues & Roots, this incredible session showcases such stars as Eric Dolphy, Roy Eldridge, and Tommy Flanagan. Mingus's arrangements are, as always, top notch with an unparalleled understanding of space and melody, and the playing is without doubt up to his standards. Mingus is one of the greatest jazz minds of the 20th century and these sessions are another fine example of his genius.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WLV 82102LP
|
Wax Love present a reissue of Charles Mingus's East Coasting, originally released in 1957. Recorded and released in 1957, this may not be Charles Mingus's most often discussed title, but it is a wonderful set featuring five great Mingus originals and is an unpredictable and exploratory album. Featuring his core group at the time, along with the amazing pianist Bill Evans, this is crucial late '50s jazz that explores the outer reaches of bop music.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WLV 82103LP
|
Wax Love present the complete sessions Charles Mingus's The Clown, originally released in 1957. Featuring two more tracks than the original release of The Clown this is the complete sessions Mingus recorded from February to March 1957. Including the original version of one of his most well-known tracks, "Haitian Fight Song", The Clown is a great album that is one of the earliest Mingus releases to show his compositional excellence as well as his stretched-out and complex sound. Another essential Mingus title on Wax Love.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TRAIT 001CD
|
Blues-rooted jazz from various hard-driving combos directed by Charles Mingus, one of the most powerful modern jazz masters, caught here at his '50s and early '60s creative peak. Includes selections from Pithecanthropus Erectus (1956), Blues And Roots (1959), Ah Um (1959), Oh Yeah (1961), and Mingus Dinasty (1959).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TRAIT 001LP
|
LP version. Blues-rooted jazz from various hard-driving combos directed by Charles Mingus, one of the most powerful modern jazz masters, caught here at his '50s and early '60s creative peak. Includes selections from Pithecanthropus Erectus (1956), Blues And Roots (1959), Ah Um (1959), Oh Yeah (1961), and Mingus Dinasty (1959).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ACV 2095LP
|
When the great bassist and composer Charles Mingus recorded these sessions for the Candid label in 1960 he was arguably at the peak of his career. Featuring an all-star formation composed of Eric Dolphy, Charles McPherson, Booker Ervin, and Jimmy Knepper among others. The legendary Charles Mingus Candid Sessions are now available for the first time on Doxy across two volumes. Part One was recorded on October 20, 1960. Personnel: Ted Curson - trumpet; Eric Dolphy - alto sax, bass clarinet, flute; Charles Mingus - bass; Dannie Richmond - drums. Edition of 500 (numbered).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ACV 2096LP
|
When the great bassist and composer Charles Mingus recorded these sessions for the Candid label in 1960 he was arguably at the peak of his career. Featuring an all-star formation composed of Eric Dolphy, Charles McPherson, Booker Ervin, and Jimmy Knepper among others. The legendary Charles Mingus Candid Sessions are now available for the first time on Doxy across two volumes. Part One was recorded on October 20, 1960. Personnel: Ted Curson - trumpet; Lonnie Hillyer - trumpet; Eric Dolphy - alto sax, bass clarinet, flute; Charles McPherson - alto sax; Booker Ervin - tenor sax; Jimmy Knepper - trombone; Britt Woodman - trombone; Nico Bunick - piano. Edition of 500 (numbered).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WLV 82065LP
|
Wax Love present a reissue of Charles Mingus's Pithecanthropus Erectus, originally released in 1956. Pithecanthropus Erectus is the Charles Mingus record where he really begins to take hold of his own personal vision of how jazz music could look. After cutting his teeth on the L.A. scene and touring with Louis Armstrong and Lionel Hampton, Mingus moved to New York, began Debut Records with Max Roach, and entered into the most productive and creative decade of his career. This album is held in the same esteem as Mingus Ah Um (1959) and The Black Saint And The Sinner Lady (1963) among jazz aficionados, and one need listen no further than the ten-minute title track, a tone poem about the rise and fall of man which includes one of the earliest free jazz/improvisation segments put to tape. Absolutely essential jazz from the late great Charles Mingus.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JD 102LP
|
2018 repress. Mingus Mingus Mingus Mingus Mingus is bassist and composer Charles Mingus's legendary experiment in a large group setting. Featuring an 11-piece group with new arrangements of some of his best-known compositions, this album is one of Mingus's most timeless and influential releases. Originally released in 1964, Mingus Mingus Mingus Mingus Mingus is an essential title from one of jazz's most enduring figures.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DOC 125LP
|
For the first time on vinyl, Charles Mingus's great score for the legendary 1959 directorial debut of John Cassavetes, Shadows. Much has been said about the controversial relationship between these two masters. "The score encapsulates Cassavetes' and Mingus's unique approaches to both improvisation and composition in their respective media, illuminating the oppositional nature of jazz to mainstream cultural production and the underbelly of race relations in 1950's America" --Ross Lipman, "Mingus, Cassavetes, and the Birth of a Jazz Cinema." "Shady transparent" vinyl. Limited edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HH 3031CD
|
Following his relentless creativity in the 1950s and '60s, Charles Mingus was slowing down by the early '70s, having combated financial hardship and health issues in recent years. In 1971 he served as the Slee Professor of Music at the State University of New York at Buffalo, and performed intermittently. This superb set was taped at Boston's Jazz Workshop that October, for broadcast on WBCN-FM, and captures him in fiery form, backed by John Foster (piano), Joe Gardner (trumpet), Hamiet "Bunny" Bluiett (baritone sax), and Roy Brooks (drums). The complete broadcast is presented here in digitally remastered sound with background notes and images.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ACV 2055LP
|
Reincarnation of a Love Bird is an album by jazz bassist and composer Charles Mingus, recorded in November 1960, but unreleased until 1988 due to the closure of the Candid label in 1961. Four of the five long tracks presented from this session have never been issued on Candid before. The extended head-arrangement "R & R" spotlights urgent Eldridge and a relatively mellow Dolphy in a combination that still sounds strange and wonderful. "Wrap Your Troubles in Dreams" is the previously unknown alternate, while the beautiful "Body & Soul" is the highlight of this unique and timeless collaboration between Roy Eldridge and the Mingus men. Limited first press of 500 numbered copies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SV 065LP
|
2020 repress. "Bassist/composer Charles Mingus is one of the most radical figures in American music. Throughout the '50s, he worked as a sideman with legendary players Charlie Parker, Dizzy Gillespie, and more. In the '60s, he gained recognition as a bandleader, often followed by controversy for making strong-minded statements in the press about race, politics and stodgy music critics. While Mingus received many honors posthumously as well as during his career, perhaps his greatest achievement was transcending the restrictive label of jazz. The Black Saint and The Sinner Lady is without question Mingus's magnum opus. Originally released on Impulse! in 1963, the album broke new ground in both genre-defying composition and innovative recording techniques. A six-part suite with dramatic shifts in mood and tempo, The Black Saint and The Sinner Lady features the three-way brass dialog of trumpets, trombone, and tuba; swooping reeds; and awe-inspiring rhythm section. Balancing delicate Spanish modes and Ellingtonian themes, the ensemble breaks into a divine cacophony of group improvisation on par with free jazz giants like Ornette Coleman or Cecil Taylor. In his best-known essay, 'Psychotic Reactions and Carburetor Dung,' Lester Bangs praises, 'the experience of the first few listenings to a record so total, so mind-twisting, that you authentically can say you'll never be quite the same again. Black Saint and The Sinner Lady did that, and a very few others. They're events you remember all your life, like your first real orgasm.' This long out-of-print vinyl release has been carefully remastered from the original master tapes."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CS 8171HLP
|
2018 repress. 180 gram reissue. "When driving a band with the upright, or double bass, Charles Mingus looked -- and was -- gigantic, in more ways than one. He had huge creative appetites (as well as being hot tempered), creating his own combination of hard bop, blues, and avant-garde jazz. There was no one more multi-faceted than Mingus between the 1950s and 1970s and of his many albums, Mingus Ah Um (1959) is considered to be a jazz classic."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DOX 883LP
|
"The Jazz Composers' Workshop album, originally released on Savoy in 1956, is made up of two sessions -- recorded on 31 October 1954 (side A and tracks 5 and 6 on side B), and 30 January 1955 (tracks 1-4 on side B) -- that were part of Mingus' influential Jazz Composers' Workshop, a forum intended to give young jazz composers the opportunity to play and record their own compositions. The 1954 session -- a sextet line-up featuring Charles Mingus (bass), John La Porta (clarinet and alto sax), Teo Macero (tenor and baritone sax), George Barrow (tenor and baritone sax), Mal Waldron (piano) and Rudy Nichols (drums) -- was made up entirely of Mingus originals, with the exception of the 1925 standard 'Tea For Two.' Mingus' 'Body and Soul,' found here, did not appear on the original LP. The 1955 date -- a quartet session led by pianist Wally Cirillo, and featuring Mingus on bass, tenor-saxophonist Teo Macero, and drummer Kenny Clarke -- was actually intended as a showcase for four compositions by Cirillo, and featured one of the first, if not the first, jazz composition to be based on a 12-tone row, 'Transeason.'" Comes on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CANDID 9005LP
|
2015 repress. Exact repro of this 1960 release. "Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original... 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 album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free." --All Music Guide
|
viewing 1 To 25 of 33 items
Next >>
|
|