Blues & Roots

Occupation

Blues and Roots is an album by Charles Mingus.

Mingus explains in the liner notes that the Atlantic record producer Nesuhi Ertegun he had proposed a few years ago to make a whole album with blues, as in Haitian Fight Song on the Atlantic Recording The Clown 1957, as critics had meant Mingus swinge not enough and doing too intellectual, experimental music. Mingus in the liner notes: I thought about it. I was born ' swinging ' and slapped my hands as a little boy in church together, but I'm grown up and I love doing things differently to address than just using Swing. But blues can do more than just swing. So I agreed. A large cast of four saxophones and two trombones create the voices that are held together by the well-established rhythm section of Mingus and Richmond.

The first piece Wednesday Night Prayer Meeting recalled after Mingus to the gospel music of the Methodist church services that he experienced as a child accompanied by his stepmother. The voices of the worshipers take over the saxophones in the interplay, interrupted occasionally and driven by heckling and clapping (second half for alto solo ) by Mingus and other players. Also, Richmond has a short solo ( beside phone, Dennis, Parlan with a monotonous groove, Ervin ).

Cryin ' Blues is a slow blues, opens with a tenor solo, followed by a solo by Mingus, Parlan is heard at the end of the choir with the others who get rid of their energy in heckling, before the piece fades away at the piano and McLean.

In Moanin are solos from McLean, Pepper Adams, Booker Ervin, again backed by the rhythmic theme used phrase ( reef ), played by Adams on baritone. The piece, which is written in AABA form ( each of said segments comprises 16 measures ) was re-recorded by the Mingus Big Band.

Tensions has solos by Mingus, McLean, Booker Ervin, Parlan and Richmond.

My Jelly Roll Soul into the world of early jazz, from the Mingus was inspired by her own words through a book with pieces of Jelly Roll Morton, which he had laid before the beginning of the composition. Here also Knepper has his solo, followed by Parlan on piano and McLean. At the end of Mingus and Richmond play in the exchange, which use at the end of the wind again. On his sophomore album ' Ah Um ' Mingus took up the theme again.

E 's Flat Ah 's Flat Too is rebuilt at a fast pace and after Mingus pyramid-shaped in the form of a circle songs. The blue -like theme is repeated while riffs and other topics will be added so that the feeling arises, a canon sounding. Common ensemble frames the solos of Waldron, Booker Ervin, McLean, cell phone and Richmond.

In his sophomore album Mingus Ah Um, he grabbed some topics ( the Gospel in Better git in your soul similar to Wednesday night prayer meeting, in early jazz Jelly Roll ) back on.

Album pieces

Additional tracks on the edition by Rhino Entertainment 1998:

All compositions by Charles Mingus ( Moanin is not to be confused with the eponymous work by Bobby Timmons ): Recorded February 4, 1959 at the Atlantic Studios in New York City, recording engineer Tom Dowd.

Waldron plays only on E 's Flat Ah 's Flat Too piano, otherwise Parlan.

The album was released on April 4, 1960.

Record label Genre
133056
de