Le 15 mai 1953, au Massey Hall de Toronto, cinq figures majeures du bebop se reunissent pour une apparition unique : Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus et Max Roach. Ce concert devenu legendaire saisit le bebop à son apogee, entre rigueur architecturale et liberte brûlante. Parker et Gillespie y deploient une inventivite fulgurante, portes par une rythmique souple et puissante. Publie en parallèle de l'ouvrage de 234 pages Jazz at Massey Hall, par la plume de Franck Medioni, cet album depasse le simple document historique : instantane aux proprietes quasi divines, il affirme une modernite radicale. Par la reunion de ces sommites musicales, il demeure sans conteste l'un des plus grands concerts de l'histoire du jazz. Patrick FRÉMEAUX On May 15, 1953, at Toronto's Massey Hall, five leading figures of bebop came together for a single appearance: Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach. This legendary concert captures bebop at it's peak, balancing architectural rigor and blazing freedom. Driven by a powerful rhythm section, Parker and Gillespie display dazzling inventiveness. Released alongside Franck Medioni's 240-page book "Jazz at Massey Hall", this album transcends the historical document to stand as one of the greatest concerts in jazz history. THE QUINTET OF THE YEAR 1 Perdido 8'15 2 Salt Peanuts 7'39 3 All the Things You Are 7'11 4 52nd Street Theme 0'41 MAX ROACH SOLO 5 Drum Conversation 4'34 BUD POWELL TRIO 6 Cherokee 4'52 7 Embraceable You 4'22 8 Jubilee (= Hallelujah) 3'59 9 Sure Thing 2'10 10 Lullaby of Birdland 2'31 11 I've Got You Under My Skin 3'00 THE QUINTET OF THE YEAR 12 Wee (Allen's Alley) 6'48 13 Hot House 9'09 14 A Night in Tunisia 7'36 Dizzy Gillespie (trumpet) Charlie Parker (alto saxophone) Bud Powell (piano) Charles Mingus (double bass) Max Roach (drums) DIRECTION ARTISTIQUE & DISCOGRAPHIE : JEAN BUZELIN LIVRET : FRANCK MEDIONI

Commenting on this album in 1962, Billboard magazine wrote: He seems to be everywhere, everywhere that is but on his usual instrument®. Charles Mingus, one of the most impressive musicians in the history of jazz, doesn't play a single note on the bass for a change, but leads the band from his (blues-)piano - the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages - apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass. ) "Oh Yeah" is definitely Mingus's most powerful and passionate album. He calls on two hot, intensive saxophonists - Roland Kirk and Booker Ervin - as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it's not free jazz, remaining - as it does - grounded in blues and gospel. "Hog Callin' Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with it's constant change of rhythm and expression alternating between gospel and blues has the most complex form. Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humour is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words: -Don't let 'em drop it! Stop it! Be-bop it!This Speakers Corner reissue LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under http://www. Pure-analogue. #com. All royalties and mechanical rights have been paid. Recording: November 1961 at Atlantic Studios, New York City, by Tom Dowd and Phil IehleProduction: Nesuhi ErtegunRelease date: 2/9/2022Original label: Atlantic

(2-LP set) Charles Mingus was to play in numerous concerts in the 60s and 70s; he recorded more than two-dozen official LPs, accused several concert organizers and tour managers of extortionate robbery, and trampled on illegal recording tapes. But the present live recording was made by the ORTF and released officially later by Atlantic Records. It is now re-released after many years and is a rare document in the annals of music history. Recording: July 1960 live at the Antibes Jazz Festival, Juan-les-Pins, France, by Dannie Richmond

Who hasn't got an ancient, worn-out copy of "The Clown" on his shelf, with a tatty cover and torn inner sleeve? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so. "The Clown" was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist.

Any list of the greatest jazz artists of all time includes the legendary Charles Mingus. Bassist, composer, outspoken jazz pioneer, Mingus was an innovator whose legacy continues to inspire us. Over a 100 years after his birth year, we still celebrate his genius. - This tour de force live performance from the 1964 Monterey Jazz Festival captures Mingus at the top of his form and the height of his powers. Out of print for more than 40 years, this landmark recording was originally released on Mingus' own short-lived mail-order label. It has consistently been the most requested reissue by Mingus fans. - This 2 LP disc set has been remastered by five-time Grammy Award Winning Engineer Michael Graves, with lacquers cut by Jeff Powell. Original gatefold jacket artwork has meticulously restored and reproduced.

Any list of the greatest jazz artists of all time includes the legendary Charles Mingus. Bassist, composer, outspoken jazz pioneer, Mingus was an innovator whose legacy continues to inspire us. Over a 100 years after his birth year, we still celebrate his genius. - This tour de force live performance from the 1964 Monterey Jazz Festival captures Mingus at the top of his form and the height of his powers. Out of print for more than 40 years, this landmark recording was originally released on Mingus' own short-lived mail-order label. It has consistently been the most requested reissue by Mingus fans. - This CD disc set has been remastered by five-time Grammy Award Winning Engineer Michael Graves, with lacquers cut by Jeff Powell. Original gatefold jacket artwork has meticulously restored and reproduced.

Charles Mingus was an American jazz upright bassist, composer, bandleader, pianist, and author. A major proponent of collective improvisation, he is considered one of the greatest jazz musicians and composers in history with a career spanning three decades and collaborations with other jazz greats such as Duke Ellington, Charlie Parker, Max Roach, and Eric Dolphy

(summary) "Ellis Island" or the sound odyssey of Julia Hamos, who examines in this very first album her family history, American and Hungarian, while displaying a longing for adventure. A poetic journey that takes us from the Hungary of Bela Bartok and Gyorgy Kurtag to the gates of New York and the recreations of Charles Mingus and Meredith Monk. (complete blurb) "Ellis Island" is an odyssey in sound, the story of a pianist with dual origins, Julia Hamos, who, in this very first album, looks at her family roots, American and Hungarian, and displays a longing for adventure. She looks towards the Hungary of Bartok and Kurtag, engaging in a dialogue with the memory of her ancestors from Transylvania. Originally from the same region as Kurtag, her maternal grandfather knew Ligeti as a child. This journey with it's haunting poetry will lead us also to New York, the pianist's first home, a place of hope and inspiration, which always feeds her creativity. Myself When I Am Real by Charles Mingus bursts forth, a fabulous moment, both poetic and pianistic, the zenith of this unusual and personal journey where the pianist, with a mellow yet clear sound palette, will have brought together in a fluid gesture the waking dreams of Schubert (Ungarische melodie, 1824), the very earthy and despair-tinged folklore of Bartok (Fifteen Hungarian Peasant Songs) and the torrential and enigmatic explosions of early Kurtag (8 Pieces Op. 3). In this eminently personal journey, however, there is no narcissistic temptation. Because if the young musician plays, she above all wants to speak to us, with modesty, but not without determination. Her piano assembles words, choreographs rhythms, and also deploy it's range of pastels colours. This is demonstrated by the subtle selection of Jatekok, where the piano will embody a thousand faces, in turn itself (Capriccioso), percussion (Play with Overtones), harp (Perpetuum mobile) or violin duet with viola (Tears). The two cycles of Bartok, with their characters so ironically sketched (Fifteen Hungarian Peasant Songs) and their sparkling rhythms (6 Dances in Bulgarian Rhythm), are no less alive. From the pianist's supple playing, from her silky legato, final streaks of melancholy will often escape. In all respects, "Ellis Island" is a fascinating experience - that of an artist who has found her voice.

Charlie Mingus is A PIONEER OF THE JAZZ UPRIGHT BASS VINYL HAS BEEN OUT OF PRINT & UNAVAILABLE release features - Eric Dolphy, Cliff Jordan, Jacki Byard and Brooke Erwin ONE OF ERIC DOLPHY'S FINAL RECORDINGS TRANSLUCENT RED color vinyl

Two CD set. Mingus In Argentina: The Buenos Aires Concerts is a never-before-released pair of recordings of legendary bassist Charles Mingus captured live in Buenos Aires, Argentina in June 1977. Featuring Ricky Ford (tenor saxophone), Jack Walrath (trumpet), Robert Neloms (piano) and Dannie Richmond (drums). Transferred from the original tape reels that were recorded by engineer Carlos Melero. The 2 CD Digipak set includes an elaborate 36-page booklet with liner notes by author Brian Priestley plus interviews.

Blues & Roots is not only a cornerstone in Charles Mingus' body of work but also a testament to the enduring power of the blues as a foundation for jazz. Mingus managed to both honor tradition and push the boundaries of jazz, all while making a deeply personal and politically charged musical statement. The album remains one of the most vital and influential recordings in the history of jazz music. Released in 1960 this album stands out in Mingus' discography as a raw, vibrant homage to the roots of blues and gospel traditions in jazz. Mingus sought to return to his musical roots, drawing from blues and gospel traditions he grew up with, particularly from the African American church music of his youth. The album is a powerful statement of how deeply the blues tradition influenced modern jazz. It combines the unfiltered emotional intensity of the blues with Mingus' forward-thinking and often unconventional compositional techniques. The album's tracks are imbued with a strong sense of the blues, which is especially apparent in songs like "Wednesday Night Prayer Meeting" and "Moanin'." The album carries a loose, jam-session feel, reflecting the church and street-based roots of blues music. The use of call-and-response patterns in several tracks also hints at gospel traditions. Blues & Roots is often cited as a critical album in the development of jazz as a genre that embraced both it's past and future. Mingus' ability to integrate traditional musical forms (such as blues and gospel) with more modern, experimental elements opened up new possibilities for jazz. His compositional style, which juxtaposed tightly arranged sections with freewheeling solos, influenced generations of musicians, from avant-garde jazz artists to rock musicians and composers in other genres

Limited edition 180g audiophile pressing, part of Waxtime's 'Collector's LP Series'. The music presented here was originally issued under the name Jazz Artists Guild, which gathered players that had participated in an alternative series of concerts at the Newport Jazz Festival 1960. It consists of the only existing recordings of Charles Mingus, Roy Eldridge and Eric Dolphy playing together. Also present on the session are trombonist Jimmy Knepper, pianist Tommy Flanagan, and drummer Jo Jones. While Mingus and Eldridge only recorded together on a few other occasions, the bassist and Dolphy had a longstanding partnership, which was sadly interrupted forever due to the saxophonist's unexpected death in 1964. Two quartet tracks from the same session on which both Dolphy and Knepper sat out have been added as a bonus.

Long-considered Charles Mingus' masterpiece, The Black Saint and the Sinner Lady represents high-water marks in both jazz composition and orchestration. An essential recording in the history of jazz, this work has been performed as a ballet and features original liner notes by Mingus' psychotherapist. Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging. Available on limited-edition Impulse! Orange vinyl.

In the vibrant landscape of jazz, two influential figures converge in an exhilarating performance at the Berlin Philharmonie. The Mingus Quintet Meets Cat Anderson captures not only the essence of music but also a moment where improvisation intersects with boundless creativity, offering listeners an immersive and engaging experience. This concert showcases how two musicians from distinct backgrounds can unite to forge something truly unique. Pioneering bassist and composer Charlie Mingus leads his ensemble through intricate arrangements, consistently allowing his musicians to express their individual voices. His compositions serve as a rich foundation for improvisation, showcasing both his inventive spirit and the brilliance of Cat Anderson, a trumpeter renowned for his extraordinary range and dynamic style, who brings his signature flair to the stage.

When Charles Mingus took the stage at Stuttgart's Liederhalle on April 28, 1964, the jazz world was undergoing a transformation-and Mingus was at the forefront. Known for his fiery creativity and defiance of convention, Mingus's performance that night, preserved on this recording, is a testament to his genius. With Eric Dolphy by his side, the group delivered a set that was both politically charged and musically adventurous.

2 Disc Set. On a captivating night in April 1964, Stuttgart, Germany, became the epicentre of jazz innovation as Charles Mingus graced the stage with an ensemble of legendary talent. Known for his explosive creativity and magnetic presence, Mingus was not just a bassist; he was a revolutionary composer whose work shattered the conventional boundaries of jazz, crafting intricate narratives that spoke to the soul. As the lights dimmed, the audience was treated to a stellar lineup featuring the virtuosic Eric Dolphy on alto saxophone, flute, and bass clarinet. Dolphy's adventurous spirit wove seamlessly with Mingus's compositions, blending whimsy and urgency in a way that only he could. The powerful tenor saxophone of Clifford Jordan added depth, while Jaki Byard's piano work-rich and soulful-infused each piece with harmonic complexity. Holding it all together was the dynamic drumming of Dannie Richmond, Mingus's trusted collaborator, whose rhythmic inventiveness made every beat feel alive.

Arguably one of the greatest musicians and composers in the history of Jazz, Charlie Mingus was a bassist, pianist, composer, arranger and band leader. Before finding fame in his own right, he played with many of the world's greatest musicians as a sideman. This set features him playing on sides from Russell Jacquet, Howard McGhee, Ernie Andrews, Dinah Washington, Lionel Hampton, Oscar Pettiford, Charlie Parker, Quincy Jones & Duke Ellington as well as early studio bands of his own. The original 78's of many of these sides are extremely rare and many have not been re-issued until now. This set is a must for jazz fans and a tribute to Mingus's artistry and versatility.

The music Charles Mingus and his group recorded during his landmark 1960 sessions for Candid Records produced three of the most revered jazz albums of the era. INCARNATIONS is a new masterpiece thoughtfully assembled from rare and unreleased material from those sessions that stands proudly in the Mingus canon of masterworks. All but one of the tracks here are from the November 11th, 1960 sessions Mingus and producer Nate Hentoff put together. The date was split into two halves: one a pure Mingus-led date, featuring a six-piece band that expanded into an octet for two additional tunes, and another, a partial reunion of a collective that had assembled in opposition against George Wein's Newport Jazz Festival that past July. (That collective, calling themselves The Jazz Artist Guild, would release the album Newport Rebels, on Candid in 1961.) Of special note here is the one track recorded during the Mingus October 20th 1960 sessions. It is a previously unreleased track titled "All The Things You Are (All.)" Found on a tape that contained material from both of these fall 1960 dates, the piece has it's roots in an Art Tatum rendition of "All the Things You Are," which Mingus had recorded before in various settings. Featuring Booker Ervin, Eric Dolphy, Charles McPherson, Ted Curson, Lonnie Hillyer, Roy Eldridge, Jimmy Knepper, Britt Woodman, Tommy Flanagan, Paul Bley, Dannie Richmond and Jo Jones. With audio restored and remastered by Bernie Grundman, and liner notes by Pitchfork and New York Times contributor Hank Shteamer, this album is a must have for any Mingus fan.

The music Charles Mingus and his group recorded during his landmark 1960 sessions for Candid Records produced three of the most revered jazz albums of the era. INCARNATIONS is a new masterpiece thoughtfully assembled from rare and unreleased material from those sessions that stands proudly in the Mingus canon of masterworks. All but one of the tracks here are from the November 11th, 1960 sessions Mingus and producer Nate Hentoff put together. The date was split into two halves: one a pure Mingus-led date, featuring a six-piece band that expanded into an octet for two additional tunes, and another, a partial reunion of a collective that had assembled in opposition against George Wein's Newport Jazz Festival that past July. (That collective, calling themselves The Jazz Artist Guild, would release the album Newport Rebels, on Candid in 1961.) Of special note here is the one track recorded during the Mingus October 20th 1960 sessions. It is a previously unreleased track titled "All The Things You Are (All.)" Found on a tape that contained material from both of these fall 1960 dates, the piece has it's roots in an Art Tatum rendition of "All the Things You Are," which Mingus had recorded before in various settings. Featuring Booker Ervin, Eric Dolphy, Charles McPherson, Ted Curson Lonnie Hillyer, Roy Eldridge, Jimmy Knepper, Britt Woodman, Tommy Flanagan, Paul Bley, Dannie Richmond and Jo Jones. With audio restored and remastered by Bernie Grundman, and liner notes by Pitchfork and New York Times contributor Hank Shteamer, this album is a must have for any Mingus fan. A1. Bugs (Take 3) A2. R&R (Take 1) B1. All The Things You Are (All) *Previously Unreleased B2. Reincarnation Of A Love Bird (2nd Version, Take 1) B3. Body And Soul (Take 6)

Box Set. Mingus Takes Manhattan collects together Charles Mingus' run of dates at the world famous Birdland, New York from 1961-1962, released here officially for the first time ever in conjunction with the Mingus Estate. The original reel-to-reel tapes used to record the radio broadcasts were tracked down, cleaned and remastered especially for this release. Previously only issued in bootleg form, the recordings enclosed feature Mingus in the midst of a highly creative spell. Alternating between bass and piano during these sets features a rotating band of heavy hitters including Yusef Lateef, Roland Kirk, Jaki Byard, Booker Ervin, Pepper Adams as well as Mingus mainstays Charles McPherson, Dannie Richmond and others. Located in a basement in the Bronx, these incredibly rare recordings are given their best sonic outing since 1962. At the centre of this package is a 44-page book with a foreword from Christian McBride, a highly informative 15,000 word essay from Brian Priestley and a new interview with Charles McPherson, giving context and inside information to the dates and the time. All of this is illustrated with slick design and rare photographs and ephemera throughout.

Analogue Productions (Atlantic Series) Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP Mastered by Kevin Gray at Cohearent Audio from the original analog tape Mingus taps blues and roots sources for a joyous swinging outing! Plated and pressed at Quality Record Pressings! Gatefold old-style 'tip-on' jacket by Stoughton Printing AllMusic marks Charles Mingus' Blues & Roots as a rejoinder to the critical carping that the virtuoso bass player and accomplished jazz pianist and bandleader and his evocative music 'somehow didn't swing enough.' For this album Mingus turned to the earthiest and earliest sources of black musical expression - blues, gospel, and old-time New Orleans jazz. The resulting album ranks arguably as Mingus' most joyously swinging outing. Recorded in 1959 and released in 1960, Blues & Roots' birth was explained by Mingus in the album's liner notes: 'This record is unusual-it presents only one part of my musical world, the blues. A year ago, Nesuhi Ertegun suggested that I record an entire blues album in the style of 'Haitian Fight Song' (in Atlantic LP 1260), because some people, particularly critics, were saying I didn't swing enough. He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy. I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed.' Anyone who had heard 'Haitian Fight Song' shouldn't have been surprised that such an album was well within Mingus' range. Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously - somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor. That modern flavor is reinforced and enhanced by the lush Analogue Productions reissue treatment that gives this new version more depth, richer sonic execution and acute audio clarity, particularly in the higher frequencies. Expert mastering from the original master tape by Kevin Gray at Cohearent Audio, and two 45 RPM flat-as-a-table 180-gram LP platters from Gary Salstrom and his crew at Quality Record Pressings properly unveil the loose and free-swinging performance. The wider-spaced grooves promote better cartridge tracking and the silent black playing surface stays clear of the audio playback. There's no question of Mingus' firm grounding in the basics on Blues & Roots, writes AllMusic, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based - like the groundbreaking classic 'Wednesday Night Prayer Meeting' - or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned 'Wednesday Night Prayer Meeting' and the Jelly Roll Morton tribute 'My Jelly Roll Soul.' Tracklist: 1 Side A 2 1. Wednesday Night Prayer Meeting 3 2. Cryin' Blues 4 Side B 5 1. Moanin' 6 Side C 7 1. Tensions 8 2. My Jelly Roll Soul 9 Side D 10 1. E's Flat Ah's Flat Too

CHARLES MINGUS / MINGUS - At the time of this recording, Mingus had been working regularly with the piano-less quartet of Eric Dolphy, Ted Curson and Dannie Richmond. The same group featured on the 1960 Candid release, Charles Mingus Presents Charles Mingus. The Mingus album, also recorded that year, features one track, "Stormy Weather," recorded with that same quartet, and two tracks recorded with a larger group featuring piano and additional horns. Of note, "MDM (Monk Duke & Me)" consumes the majority of this album. The piece consists of three intertwining themes - Duke Ellington's "Main Stem", Thelonious Monk's "Straight, No Chaser", and Mingus' "Fifty First Street Blues." Released in 1961, and recorded in the fall of 1960 by Candid A&R and Producer Nate Hentoff at the Nola Penthouse Sound Studios. The LP includes extraordinary liner notes written by Hentoff, giving a context and insight that adds to the experience of hearing these magnificent performances.

CHARLES MINGUS / MINGUS At the time of this recording, Mingus had been working regularly with the piano-less quartet of Eric Dolphy, Ted Curson and Dannie Richmond. The same group featured on the 1960 Candid release, Charles Mingus Presents Charles Mingus. The Mingus album, also recorded that year, features one track, "Stormy Weather," recorded with that same quartet, and two tracks recorded with a larger group featuring piano and additional horns. Of note, "MDM (Monk Duke & Me)" consumes the majority of this album. The piece consists of three intertwining themes - Duke Ellington's "Main Stem", Thelonious Monk's "Straight, No Chaser", and Mingus' "Fifty First Street Blues." Released in 1961, and recorded in the fall of 1960 by Candid A&R and Producer Nate Hentoff at the Nola Penthouse Sound Studios. The LP includes extraordinary liner notes written by Hentoff, giving a context and insight that adds to the experience of hearing these magnificent performances.