1.Remember Rockefeller At Attica
2.Sue's Changes
3.Devil Blues
4.Duke Ellington's Sound Of Love
 
George Adams 	- Sax (Tenor), Vocals
Charles Mingus - Bass
Don Pullen - Piano
Dannie Richmond - Drums
Jack Walrath - Trumpet

Charles Mingus' finest recordings of his later period are Changes One and Changes Two, two Atlantic LPs that have been reissued on CD by Rhino. The first volume features four stimulating Mingus originals ("Remember Rockefeller at Attica," "Sue's Changes," "Devil Blues" and "Duke Ellington's Sound of Love") performed by a particularly talented quintet (tenor-saxophonist George Adams who also sings "Devil Blues," trumpeter Jack Walrath, pianist Don Pullen, drummer Dannie Richmond and the leader/bassist). The band has the adventurous spirit and chance-taking approach of Charles Mingus' best groups, making this an easily recommended example of the great bandleader's music. ---Scott Yanow, Rovi

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1.	Free cell block f’tis nazi USA
2.	Orange was the color of her dress then silk black
3.	Black bates and poles
4.	Duke Ellington sound of love
5.	For Harry Carney

George Adams 	- Sax (Tenor)
Marcus Belgrave - Trumpet
Charles Mingus - Bass
Jackie Paris - Vocals
Don Pullen - Piano
Dannie Richmond - Drums
Jack Walrath – Trumpet

Along with its companion volume Changes One, this is one of the great sessions from one of the best working bands of the 1970s. Starting with the spirited "Free Cell Block F, 'Tis Nazi U.S.A," this volume also includes the vocal version of "Duke Ellington's Sound of Love" with guest singer (and acquired taste) Jackie Paris, a remake of the classic Mingus composition "Orange Was the Color of Her Dress, Then Silk Blue," Jack Walrath's "Black Bats and Poles," and Sy Johnson's "For Harry Carney." The challenging repertoire from these December 1974 dates sustained the Jazz Workshop for several years; these are the definitive performances. Rhino's reissue duplicates the original LP down to the layout. ---Stuart Kremsky, Rovi

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1.  Cumbia Jazz Fusion
2.  Music For Todo Modo
3.  Wedding March Slow Waltz Take 9
4.  Wedding March Slow Waltz Take 12

George Adams 	- Flute (Alto), Sax (Tenor)
Gary Anderson 	- Bass, Clarinet (Bass), Clarinet (Contrabass), E Flat Clarinet
Candido Camero - Congas
Bradley Cunningham - Percussion
Anastasio DelBono - Horn (English), Oboe
Ricky Ford - Percussion, Sax (Tenor)
Daniel Gonzales - Congas
Paul Jeffrey - Oboe, Sax (Tenor)
Jimmy Knepper -Trombone, Trombone (Bass)
Roberto Laneri 	- Clarinet (Bass)
Quarto Maltoni - Sax (Alto)
Ray Mantilla - Congas
Charles Mingus -Arranger, Bass, Vocals
Danny Mixon - Organ, Piano
Bob Neloms - Piano
Dino Piana - Trombone
Alfredo "Corral" Ramirez - Congas
Dannie Richmond - Drums
Pasquale Sabatelli - Bassoon
Gene Scholtes - Bassoon
Mauricio Smith 	- Flute, Piccolo, Sax (Alto), Sax (Soprano)
Jack Walrath - Percussion, Trumpet

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01. Mysterious Blues 8:45 
02. Wrap Your Troubles In Dreams - take 5 3:53   
03. Body And Soul - take 2 10:49 
04. Vassarlean 6:40    
05. Re-Incarnation Of A Love Bird - 1st version - take 4 9:16  
06. Me And You Blues 9:51 
07. Melody From The Drums 9:22 

Charles Mingus (Acoustic bass), 
Eric Dolphy (Alto saxophone, bass clarinet, flute), 
Charles McPherson (Alto saxophone), 
Booker Ervin (Tenor saxophone), 
Roy Eldridge, Ted Curson, Lonnie Hillyer (Trumpets), 
Jimmy Knepper (Trombone), 
Tommy Flanagan, Nico Bunick (Piano), 
Jo Jones, Dannie Richmond (Drums).

Although a Mosaic box set claims to have all of Charles Mingus's Candid recordings, this CD, in addition to four duplications from the box, contains three alternate takes not included elsewhere: "Body and Soul" (featuring trumpeter Roy Eldridge and altoist Eric Dolphy), the Dannie Richmond drum solo "Melody from the Drums" and a septet runthrough on "Reincarnation of a Love Bird." A fine introduction into the music of Charles Mingus, this set still cannot compare to the Mosaic box which has the Mingus's pianoless quartet with Dolphy, Richmond and trumpeter Ted Curson, but completists will have to acquire both releases. ---Scott Yanow, Rovi

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1 Pithecanthropus Erectus (10:36) 
2 Foggy Day (7:50) 
3 Profile of Jackie (3:11) 
4 Love Chant (14:59)

Bobby Jones - Sax (Tenor)
Elvin Jones - Drums
Willie Jones - Drums
Jackie McLean - Sax (Alto)
Charles McPherson - Sax (Alto)
Charles Mingus - Bass
J.R. Monterose 	- Sax (Tenor)
Eddie Preston - Trumpet
Dannie Richmond - Drums
Mal Waldron - Piano

Pithecanthropus Erectus was Charles Mingus' breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with Pithecanthropus Erectus he began seeking new ways to increase the evocative power of the art form and challenge his musicians (who here include altoist Jackie McLean and pianist Mal Waldron) to work outside of convention. The title cut is one of his greatest masterpieces: a four-movement tone poem depicting man's evolution from pride and accomplishment to hubris and slavery and finally to ultimate destruction. The piece is held together by a haunting, repeated theme and broken up by frenetic, sound-effect-filled interludes that grow darker as man's spirit sinks lower. It can be a little hard to follow the story line, but the whole thing seethes with a brooding intensity that comes from the soloist's extraordinary focus on the mood, rather than simply flashing their chops. Mingus' playful side surfaces on "A Foggy Day (In San Francisco)," which crams numerous sound effects (all from actual instruments) into a highly visual portrait, complete with honking cars, ringing trolleys, sirens, police whistles, change clinking on the sidewalk, and more. This was the first album where Mingus tailored his arrangements to the personalities of his musicians, teaching the pieces by ear instead of writing everything out. Perhaps that's why Pithecanthropus Erectus resembles paintings in sound -- full of sumptuous tone colors learned through Duke Ellington, but also rich in sonic details that only could have come from an adventurous modernist. And Mingus plays with the sort of raw passion that comes with the first flush of mastery. Still one of his greatest. ---Steve Huey, Rovi

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Side one

   1. "Track A — Solo Dancer" –6:20
      Stop! Look! and Listen, Sinner Jim Whitney!
   2. "Track B — Duet Solo Dancers" –6:25
      Hearts' Beat and Shades in Physical Embraces
   3. "Track C — Group Dancers" –7:00
      (Soul Fusion) Freewoman and Oh, This Freedom's Slave Cries

Side two

   1. "Mode D — Trio and Group Dancers"
      Stop! Look! and Sing Songs of Revolutions!

    "Mode E — Single Solos and Group Dance"
    Saint and Sinner Join in Merriment on Battle Front
    "Mode F — Group and Solo Dance"
    Of Love, Pain, and Passioned Revolt, then Farewell, My Beloved, 'til It's Freedom Day –17:52 

Jay Berliner - Guitar
Don Butterfield - Tuba
Jaki Byard - Piano
Rolf Ericson - Trumpet
Dick Hafer - Flute, Sax (Tenor)
Quentin Jackson - Trombone
Charlie Manano - Sax (Alto)
Charles Mingus - Bass, Piano
Jerome Richardson - Baritone, Flute, Sax (Baritone), Sax (Soprano)
Dannie Richmond - Drums
Richard Gene Williams - Trumpet

The Black Saint and the Sinner Lady is one of the greatest achievements in orchestration by any composer in jazz history. Charles Mingus consciously designed the six-part ballet as his magnum opus, and -- implied in his famous inclusion of liner notes by his psychologist -- it's as much an examination of his own tortured psyche as it is a conceptual piece about love and struggle. It veers between so many emotions that it defies easy encapsulation; for that matter, it can be difficult just to assimilate in the first place. Yet the work soon reveals itself as a masterpiece of rich, multi-layered texture and swirling tonal colors, manipulated with a painter's attention to detail. There are a few stylistic reference points -- Ellington, the contemporary avant-garde, several flamenco guitar breaks -- but the totality is quite unlike what came before it. Mingus relies heavily on the timbral contrasts between expressively vocal-like muted brass, a rumbling mass of low voices (including tuba and baritone sax), and achingly lyrical upper woodwinds, highlighted by altoist Charlie Mariano. Within that framework, Mingus plays shifting rhythms, moaning dissonances, and multiple lines off one another in the most complex, interlaced fashion he'd ever attempted. Mingus was sometimes pigeonholed as a firebrand, but the personal exorcism of Black Saint deserves the reputation -- one needn't be able to follow the story line to hear the suffering, mourning, frustration, and caged fury pouring out of the music. The 11-piece group rehearsed the original score during a Village Vanguard engagement, where Mingus allowed the players to mold the music further; in the studio, however, his exacting perfectionism made The Black Saint and the Sinner Lady the first jazz album to rely on overdubbing technology. The result is one of the high-water marks for avant-garde jazz in the '60s and arguably Mingus' most brilliant moment. ---Steve Huey, Rovi

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1. For Harry Carney
2. Three Or Four Shades Of Blues  play
3. Cumbia And Jazz Fusion .

Personnel:
Charles Mingus - Bass, Voc
Jack Walrath - Trumpet
Ricky Ford - Sax Tenor
Bob Neloms - Piano
Dannie Richmond - Drums .

Sitges, Barcelona, Spain
16 July 1977 .

Charles Mingus (22nd April 1922 – 5th January 1979) was an American jazz bassist, composer, bandleader, and occasional pianist from Los Angeles. He was also known for his activism against racial injustice.

Mingus’ legacy is notable: he is ranked among the finest composers and performers in jazz, and recorded many highly regarded albums. Dozens of musicians passed through his bands and later went on to impressive careers. His songs - though melodic and distinctive - are not often recorded by later musicians, due in part to their unconventional nature. Mingus was also influential and creative as a bandleader, recruiting talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations.

Nearly as well known as his ambitious music was Mingus’ often fearsome temperament, which earned him the nickname “The Angry Man of Jazz”. His refusal to compromise his musical integrity led to many onstage explosions, though it has been argued that his temper also grew from a need to vent frustration. Ironically, a perfect show could irritate him by closing this outlet.

Mingus was prone to depression. He tended to have brief periods of extreme creative activity, intermixed with fairly long periods of greatly decreased output.

Most of Mingus’s music retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third Stream Jazz and free jazz. Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz. Mingus focused on collective improvisation, similar to the old New Orleans Jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. He strived to create unique music to be played by unique musicians.

Due to his brilliant writing for mid-size ensembles - and his catering to and emphasising the strengths of the musicians in his groups - Mingus is often considered the heir apparent to Duke Ellington, for whom he expressed unqualified admiration.

Charles Mingus (ur. 22 kwietnia 1922 – zm. 5 stycznia 1979), znany także jako Charlie Mingus to amerykański kontrabasista jazzowy, kompozytor, dyrygent i pianista. Był także znanym aktywistą antyrasistowskim. Mingus jest uznawany za jednego z najlepszych kompozytorów i odtwórców muzyki jazzowej, w czasie swojej kariery nagrał wiele albumów wysoko ocenionych przez krytyków gatunku. Jego utwory, mimo ich melodyjności i oryginalnego brzmienia, nie są często nagrywane przez innych artystów z powodu ich niekonwencjonalności. ---lastfm.pl

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Live in Belgium 1964
So Long Eric
Peggy’s Blue Skylight
Meditations On Integration

Live in Norway 1964
So Long Eric
Orange Was The Color Of Her 
Dress, Then Blue Silk
Parkeriana
Take The “A” Train

Live in Sweden in 1964
So Long Eric
Meditations On Integration

Personnel:
Charles Mingus (Bass)
Eric Dolphy (Alto Sax, Flute, Bass Clarinet)
Clifford Jordan (Tenor Sax)
Johnny Coles (Trumpet)
Jaki Byard (Piano)
Dannie Richmond (Drums)

The 1964 tour of Europe by Charles Mingus has long been heralded as a watershed moment in jazz. Fronting arguably the best band that he ever worked with—Eric Dolphy (alto sax, bass clarinet, flute), Clifford Jordan (tenor sax), Johnny Coles (trumpet), Jaki Byard (piano) and the ubiquitous Dannie Richmond (drums)—Mingus barnstormed his way through two-and-a-half weeks’ of dates, beginning in Amsterdam on April 10 and concluding in Stuttgart, Germany, on the April 28. The tour effectively introduced two new compositions, “Meditations On Integration” and “So Long Eric”, while the band walked a fine line between Mingus’s usual amalgam of bop, swing and New Orleans jazz and the free-jazz leanings of the cataclysmic Dolphy. The result, of course, was something that could only be called Mingus Music—a galvanizing, high-energy sonic stew that, while the product of the kinetic interplay of six musicians, could only have been conjured up with Mingus as the master of ceremonies. ---jazzicons.com

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A1 Better Git It in Your Soul 7:22 
A2 Goodbye Pork Pie Hat 4:47 
A3 Boogie Stop Shuffle 3:44
A4 Self Portrait in Three Colors 3:06
A5 Open Letter to Duke 4:56
B1 Bird Calls 3:13
B2 Fables of Faubus 8:14
B3 Pussy Cat Dues 6:29
B4 Jelly Roll 4:01

Willie Dennis - Trombone
Booker Ervin - Sax (Tenor), Saxophone
Shafi Hadi - Sax (Alto), Sax (Tenor)
John Handy - Clarinet, Sax (Alto), Saxophone
John "Captain John" Handy - Clarinet, Sax (Alto), Sax (Tenor)
Jimmy Knepper - Trombone
Charles Mingus - Bass, Piano
Horace Parlan - Piano

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. ---Steve Huey, Rovi

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1. Slop 6:14  	  
2. Diane 7:28 	  
3. Song With Orange 6:47 	  
4. Gunslinging Bird 5:12 	  
5. Things Ain't What They Used To Be 7:35 	  
6. Far Wells, Mill Valley 6:11 	  
7. New Now Know How 4:12 	  
8. Mood Indigo 8:12 	  
9. Put Me In That Dungeon 2:51 	  
10. Strollin' 4:33

Seymour Barab - Cello
Maurice Brown - Cello
Teddy Charles - Vibraphone
Theodore Cohen - Vibraphone, Vocals
Don Ellis - Trumpet
Booker Ervin - Sax (Tenor), Saxophone
Benny Golson - Sax (Tenor), Saxophone
John Handy - Sax (Alto), Saxophone
Roland Hanna - Piano,
Jimmy Knepper - Trombone,
Charles Mingus - Bass
Jerome Richardson - Flute, Sax (Baritone), Saxophone
Dannie Richmond - Drums
Dick Williams - Trumpet

Mingus Ah Um catapulted Charles Mingus from a much-discussed semi-underground figure to a near-universally accepted and acclaimed leader in modern jazz. Perhaps that's why his Columbia follow-up, Mingus Dynasty, is often overlooked in his canon -- it's lost in the shadow of its legendary predecessor, both because of that album's achievement and the fact that it's just a notch below the uppermost echelon of Mingus' work. Having said that, Mingus Dynasty is still an excellent album -- in fact, it's a testament to just how high a level Mingus was working on that an album of this caliber could have gotten lost in the shuffle. There's a definite soundtrack quality to a great deal of the music here, and indeed the majority of Mingus' originals here were composed for film and television scores and an expanded, nine- to ten-piece group. On some pieces, Mingus refines and reworks territory he'd previously hit upon. "Slop," for example, is another gospel-inflected 6/8 stormer, composed for a TV production that requested a piece similar to "Better Get It in Your Soul." The ferocious "Gunslinging Bird" follows a similar pattern, and it's the same piece whose full title -- "If Charlie Parker Were a Gunslinger, There'd Be a Whole Lot of Dead Copycats" -- is given elsewhere. There are a couple of numbers from the Ellington songbook that both feature cellos -- "Things Ain't What They Used to Be" and a fantastic, eight-minute "Mood Indigo" -- and a couple of pieces that rely on the even more tightly orchestrated approach of Mingus' pre-Pithecanthropus Erectus days -- "Far Wells, Mill Valley" and the atonal but surprisingly tender and melodic "Diane." The CD reissue of Mingus Dynasty -- like that of its predecessor -- restores the full-length versions of some songs that had portions of solos edited for time on the original LP release. ---Steve Huey, Rovi

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