This is an LP reissue of a set that was originally titled Pre Bird because it features some of the advanced originals that Charles Mingus wrote prior to hearing Charlie Parker. The bassist leads an undisciplined but colorful 25-piece orchestra on three titles including an Eric Dolphy feature on "Bemonable Lady" while the other five tracks are by a ten-piece (including two pianos) band; Lorraine Cousins sings "Eclipse" and "Weird Nightmare." It's an interesting set of typically unconventional music by Mingus.
Most often heard in large ensembles and rarely in a trio context, Charles Mingus joined forces with pianist Hampton Hawes for this 1957 studio date. It features four standards, two originals by the bassist, and a jam by the group credited to Hawes. While there's nothing particularly arresting or startling about the date, the relationship between the two ostensible co-leaders is a good case study in group dynamics when deference between two strong-willed individualists turns into a certain amount of compromise.
So many of the jazz great are now gone, a fact that no one would dispute but that really hits home after listening to a masterpiece such as this reissue of Charles Mingus' Mingus Moves. Not only have we lost the impetuous bassist and composer, but also drummer Dannie Richmond, tenor titan George Adams and the extraordinary pianist Don Pullen. The latter three men, in particular, were taken way before their times and one longs for the incendiary magic that the Pullen-Adams group (the seeds of which are planted here) conjured for a brief spell in the '80s.
Very nice set of Mingus' legendary Candid recordings – produced in 1960, after Mingus angrily departed Columbia records, and was finally given the freedom to work in the way that he wanted. The recordings are some of Mingus best – and they feature a righteous anger and sheer jazz power that's unmatched by few other recordings.
This album is unique in Mingus' enormous catalog. As the title indicates, the famous bassist takes to the ivories solo to give life to his dazzling improvisational art. At first it seems odd to hear Mingus without one of his trademark interactive and exploratory ensembles. But the sensibility that he brings to this collection of piano pieces bears all the signs of the composer's genius…
Of all the titles in the Impulse! 2 on 1 series, this volume may be the very finest. It pairs two indisputable classic Charles Mingus titles – both of which have endured for nearly 50 years – that were cut during the same year. While The Black Saint and the Sinner Lady was recorded on January 20, 1963, the recording that ended up as Mingus Mingus Mingus Mingus was begun that very day, but not finished until September. The former album is rightly regarded as one of (if not the) Mingus' masterpieces for its use of colors, tonalities, expansive harmonies, and the juxtaposition of numerous aspects of the jazz tradition – from Ellingtonian swing to hard bop, to West Coast and new-thing jazz – employing a vocal chorus, and even Latin and flamenco flourishes in a single conceptual work played by an 11-piece orchestra.