Charles Mingus - Incarnations

Styles: Post Bop, Jazz
Year: 2023
Time: 42:49
File: MP3 @ 320K/s
Size: 98,3 MB
Art: Front

( 8:27) 1. Bugs (Take 3)
(11:50) 2. R&R (Take 1)
( 4:50) 3. All The Things You Are (All)
( 6:58) 4. Reincarnation of a Love Bird (2nd Version Take 1)
(10:41) 5. Body And Soul (Take 6)

A collection of recordings culled from Charles Mingus' 1960 sessions on the Candid label, 2024's Incarnations is a swinging yet still heady album that finds the bassist bridging the mainstream jazz of the '40s and '50s with the avant-garde post-bop and third-stream explorations he would pursue just a few years later.
https://www.allmusic.com/album/incarnations-mw0004165948

Personnel: Bass – Charles Mingus; Alto Saxophone – Charles McPherson, Eric Dolphy; Bass Clarinet – Eric Dolphy; Drums – Dannie Richmond, Jo Jones; Piano – Nino Bunick, Paul Bley, Tommy Flanagan; Tenor Saxophone – Booker Ervin ; Trombone – Britt Woodman, Jimmy Knepper; Trumpet – Lonnie Hillyer, Roy Eldridge, Ted Curson

Incarnations

---

Charles Mingus - Mingus Ah Um

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 72:32
Size: 168,5 MB
Art: Front

(7:22) 1. Better Git It in Your Soul
(5:44) 2. Goodbye Pork Pie Hat
(5:02) 3. Boogie Stop Shuffle
(3:10) 4. Self-Portrait in Three Colors
(5:51) 5. Open Letter to Duke
(6:17) 6. Bird Calls
(8:13) 7. Fables of Faubus
(9:14) 8. Pussy Cat Dues
(6:17) 9. Jelly Roll
(6:30) 10. Pedal Point Blues
(4:39) 11. GG Train
(4:07) 12. Girl of My Dreams

Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate accessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um.

The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin; trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan; and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus' greatest, most emotionally varied set of compositions. At least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune "Better Get It in Your Soul," taken in a hard-charging 6/8 and punctuated by joyous gospel shouts. "Goodbye Pork Pie Hat" is a slow, graceful elegy for Lester Young, who died not long before the sessions.

The sharply contrasting "Fables of Faubus" is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus). The underrated "Boogie Stop Shuffle" is bursting with aggressive swing, and elsewhere there are tributes to Mingus' most revered influences: "Open Letter to Duke" is inspired by Duke Ellington and "Jelly Roll" is an idiosyncratic yet affectionate nod to jazz's first great composer, Jelly Roll Morton. It simply isn't possible to single out one Mingus album as definitive, but Mingus Ah Um comes the closest. By Steve Huey
https://www.allmusic.com/album/mingus-ah-um-mw0000188531

Personnel: Charles Mingus – bass, piano (with Parlan on track 10); John Handy – alto sax (1, 6, 7, 9, 10, 11, 12), clarinet (8), tenor sax (2); Booker Ervin – tenor sax; Shafi Hadi – tenor sax (2, 3, 4, 7, 8, 10), alto sax (1, 5, 6, 9, 12); Willie Dennis – trombone (3, 4, 5, 12); Jimmy Knepper – trombone (1, 7, 8, 9, 10); Horace Parlan – piano; Dannie Richmond – drums

Mingus Ah Um

---

Dannie Richmond - 'In' Jazz for the Culture Set

Styles: Soul-Jazz
Year: 1965
File: MP3@320K/s
Time: 30:28
Size: 70,3 MB
Art: Front

(3:10) 1. High Camp
(2:14) 2. Sweet Little Sixteen
(3:05) 3. Freedom Ride
(3:56) 4. The Spider
(2:40) 5. Blowin' In The Wind
(4:24) 6. Pfoonick
(4:52) 7. The Berkeley Underground
(3:55) 8. Mister Nashville
(2:09) 9. John Kennedy Memory Waltz

As anyone who collects jazz records will very likely tell you, the rare ones are typically hard earned and usually accompanied by a story or two. Such is the case with the uncommon and definitely curious solo album that drummer Dannie Richmond cut for Impulse back in 1965. With shades of Any Warhol to be had via the Campbell’s soup cans on the cover, this oddity first caught my attention many years ago when shopping with one of my fellow collecting buddies. Housed in a five-car garage, a retired attorney by the name of Dan Link (that’s Mr. Jazz to those who knew him best, including drummer Kenny Washington) ran a record business that used to be a frequent stopping spot that always guaranteed pleasures and a quick fix. Foolishly I had passed by the album the first time out and even more rashly, described it to my buddy the next time out, who managed to find the proverbial needle in the haystack among thousands of boxes. Even several years later, I could not pry the album from his hands, despite the fact that my buddy claimed to not think much of it, playing it only one or two times.

Let’s now cut to the chase and lay out the details for one of the few albums the drummer ever recorded under his own name. The “in crowd” that Richmond assembles here includes pianist Jaki Byard and bassist Cecil McBee, with the guitars of Toots Thielemans and Jimmy Raney on various other cuts, not to mention some added Latin percussion on a trio of tracks. There’s definitely a quirky sound to these short cuts which owes as much to the tenor of the times as to the contributions of Byard, heard in rollicking stride fashion on of all things, Bob Dylan’s “Blowin’ in the Wind”. Jimmy Raney’s “Freedom Ride” is one of the best cuts, its propulsive groove firmly established by Richmond and also featuring one of the few drum solos to be found on the record. Also worth mentioning are two Gary McFarland gems, namely “High Camp” and “Pfoofnick.” And let’s not forget the country twang that comes with Thieleman’s “Mister Nashville,” the idea being that pretty much anything goes when it come to this “in” jazz for the culture set. In the end, nothing all that dramatic will be found between the covers, but it’s a definite treat to hear some overlooked solo work from Byard, not to mention Thielemans’ guitar picking which has largely been overshadowed by his individualistic ways with the harmonica. But then, there’s a ‘60s vibe to the entire package, Campbell’s soup cans and all, which continues to endear itself to me every once in awhile when I get the turntable spinning. ~ C.Andrew Hovan https://www.allaboutjazz.com/dannie-richmond-in-jazz-for-the-culture-set-by-c-andrew-hovan.php

Personnel: Dannie Richmond – drums; Toots Thielemans – harmonica, guitar; Jaki Byard – piano; Jimmy Raney – guitar; Cecil McBee– bass; Willie Bobo, Victor Pantoja – percussion

'In'Jazz for the Culture Set

---