East Coasting is an album by Charles Mingus, recorded and released in 1957. The album was remastered in 2017 by Millennium Digital Remaster.
The Jazz Experiments of Charlie Mingus is an album by jazz bassist and composer Charles Mingus released on the Bethlehem label. The album is a compilation of tracks originally released by Period Records as two 10-inch LP's entitled Jazzical Moods and co-credited to John LaPorta. The album was remastered in 2017 by Millennium Digital Remaster.
Pepper Adams' Plays Charlie Mingus is a watershed album in Adams' long career. For starters, Mingus himself had a hand in the selection of material for the dates, along with Adams and vibist Teddy Charles. Next, the two dates here, September 9 and 12, 1963, were recorded with two different bands. Most of the material was taped on the earlier date with an octet comprised of Adams, Mingus' own drummer, Danny Richmond, bassist Paul Chambers, and Thad Jones on trumpet and his brother Hank on piano. The latter date added Charles McPherson on alto, Zoot Sims on tenor, Bennie Powell on trombone, and had Bob Cranshaw replacing Chambers on bass.
Bassist Charles Mingus was largely inactive in music during 1966-69. This CD finds Mingus leading a new sextet comprised of veteran alumni (altoist Charles McPherson, pianist Jaki Byard and drummer Dannie Richmond) and two newcomers (trumpeter Eddie Preston and Bobby Jones on tenor). The music, two new songs ("The Man Who Never Sleeps" and "O.P.") and a remake of "Orange Was the Color of Her Dress," is enjoyable although not particularly innovative; it does have some exciting moments.
Reissue. Features the latest remastering. Includes a Japanese description, lyrics. Features original cover artwork. A pivotal album in the career of Charles Mingus – one that really has him honing his sound, and reaching for that trademark mix of modernism and raw emotion that set a whole generation on fire! The album's a lot more freewheeling than other Mingus material from the time – although still a bit more compact than the Atlantic or Columbia sides – and the group's staffed with key early interpreters of Charles' vision – including John LaPorta on alto, Teo Macero on tenor and baritone, Thad Jones on trumpet, Clem DeRosa on drums, and Jackson Wiley on cello – an instrument that really helps shade in some of the darker corners of the tunes. Titles include great early originals like "Four Hands", "Minor Intrusion", "Thrice Upon A Theme", and "The Spur Of The Moment" – plus his great take on "Stormy Weather", which is a bit stormier than most!
Wonderfully sweet work from trumpeter Charlie Shavers – a set that has Shavers blowing on ballads over larger orchestrations – in a style that's really our favorite side of his music! Charlie's horn already has a long legacy by the time of this record – a slightly mature style that sounds wonderfully as he drifts magically over string-heavy backings from Sy Oliver – in a mode that's warm and lush, yet also beautifully soulful, and manages to really personalize the familiar tunes in the set. Titles include "Stella By Starlight", "Ill Wind", "Stormy Weather", "Out Of Nowhere", "Stardust", and "I Cover The Waterfront".
Reissue. Features the latest remastering. Includes a Japanese description, lyrics. Features original cover artwork. The music of George Gershwin, but taken to some great late night territory by the trumpet of Charlie Shavers! The album's a sublime "with strings" date – one that has Charlie blowing beautifully over backdrops from Sy Oliver – charts that certainly use some string instruments, but often in a very spare, mellow way – so that once Shavers gets going, his trumpet is right out front – often with a beautifully moody tone! Titles include "I've Got A Crush On You", "Embraceable You", "Liza", "Summertime", "But Not For Me", and "It Ain't Necessarily So".
Recorded in New York in 1957 (though not released until 1962), Tijuana Moods was, according to 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 suitelike thematic material and various forms of counterpoint, the group sounds much larger than it is, and points toward Mingus's later experiments with form.