The best way to think of this Bob Simpson engineered recording is as an RCA “Living Stereo” packed in orange and black Impulse clothing. The sonics are sensationally transparent, with the ensemble spread across a wide soundstage. Though the emphasis is on hard left and right, as was the style back then the middle isn’t an empty space. Jay Berliner’s Flamenco-style guitar appears there transparently and with pristine transient articulation. A comparison between this reissue and an original Impulse produced a sonic draw with each having its own attractive qualities—warmer original versus more transparent reissue— but the reissue is pressed on far quieter vinyl and given a choice I’d take the reissue. Musical and sonic fireworks well worth getting. Sound 10/10 Music 10/10 Michel Fremer Analogueplanet

Acoustic Sounds Series reissues from Verve/Universal Music Enterprises!

 

Monthly releases highlighting the world's most historic and best jazz records!

 

Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes

 

180-gram LPs pressed at Quality Record Pressings!

 

Stoughton Printing gatefold old-style tip-on jackets

 

 

Released on Impulse! Records in 1963, the album consists of a single continuous composition — partially written as a ballet — divided into four tracks and six movements. Of his adventurous and hauntingly eloquent work, among his other creations, Mingus said: "My music is evidence of my soul's will to live."  The evidence of that life-force amounts to some of the most dramatic and powerful jazz composed in the 20th century.

 

Mingus was born in Arizona on April 22, 1922 and raised in Los Angeles. He was taught double-bass by Red Callendar, and by the New York Philharmonic Orchestra's Herman Rheinshagen (classical music played as big a part in his compositional thinking as gospel songs and the blues). Mingus toured with New Orleans players Louis Armstrong and Kid Ory in the 40s, and later worked briefly with Lionel Hampton and Duke Ellington.

 

If he had been an improvising instrumentalist alone, Mingus would have been a jazz legend simply for his bass playing. Yet bass-playing also gave Mingus an insight into the low sonorities and inner hamonies of jazz composition, and his melodic approach was profoundly influenced by the blues and gospel music of his childhood.

 

Charles Mingus, bass, piano
Jay Berliner, guitar
Don Butterfield, tuba
Jaki Byard, piano
Rolf Ericson, trumpet
Dick Hafer, flute, tenor saxophone
Quentin Jackson, trombone
Charlie Manano, alto saxophone
Jerome Richardson, flute, soprano saxophone, baritone saxophone
Dannie Richmond, drums
Richard Gene Williams, trumpet

 

Side A

1. Solo Dancer (Stop! And Listen, Sinner Jim Whitney!)

2. Duet Solo Dancers (Heart's Beat And Shades In Physical Embraces)

3. Group Dancers ([Soul Fusion] Freewoman And Oh This Freedom's Slave Cries)

 

Side B

1. Trio And Group Dancers (Stop! Look! And Sing Songs Of Revolutions!)

2. Single Solos And Group Dance (Saint And Sinner Join In Merriment On Battle Front)

3. Group And Solo Dance (Of Love, Pain, And Passioned Revolt, Then Farewell, My Beloved, 'til It's Freedom Day)