Mingus Three
Occupation
- Bass: Charles Mingus
- Piano: Hampton Hawes
- Drums: Dannie Richmond
Mingus Three ( also trio, The Wild Bass or Mingus Moods ) is a jazz album by Charles Mingus, recorded on July 9, 1957 in New York City. The album was released in the same year on the label Jubilee and was later published by Disques Vogue, Roulette Records, Fresh Sound Records.
The album
In his autobiography, Raise up off me (1974 ) Hampton Hawes described how he had burnt down in July 1957 in New York stood at the corner of 45th and Broadway, and met Charles Mingus. When he asked this about money, Mingus offered him to participate in a trio session. " I fixed and made [ it], " Hawes wrote.
The recordings of Mingus Three emerged after Mingus ' recordings by The Clown in March 1957 for Atlantic Records and nine days before his Tijuana Moods Studio Sessions for RCA. One month earlier, he was with the George Russell Orchestra on the Brandeis Jazz Festival occurred ( Revelations ).
With bassist Charles Mingus played the pianist Hampton Hawes and his regular drummer Dannie Richmond. The trio usually interpreted popular jazz standards about by Vernon Duke (I Can not Get Started ), George Gershwin ( Summertime ) or Jerome Kern ( Yesterdays ), and also the Hawes attributed improvisation Hamp 's New Blues and two compositions by Mingus himself, including Dizzy Moods, he then should import even at his Tijuana Moods session in an extended occupation. After recordings 1953-1955 with Spaulding Givens, Bud Powell, Billy Taylor, Paul Bley, John Mehegan and John Dennis, these were the last piano trio recordings of Charles Mingus in the 1950s, the only still 1962 in a session with Duke Ellington and Max Roach ( Money Jungle ) participated and an album of solo improvisations ( Mingus Plays Piano 1963) brought out.
Yesterdays is a head arrangement in which a forscheres tempo is used as normally; Hamp 's New Blues Mingus described as bebop blues, illustrates the comment of a critic 's view of Nat Hentoff:
Dizzy Moods arose from Mingus ' admiration of composition Woodyn ' You by Dizzy Gillespie, with the title he altered the original chord structure and wrote a new melody for the altered sequence. Mingus expected Hawes, that he should play more simple blues as he usually did, Hentoff wrote. This trio session can be distinguished from other trio encounters;
List of titles
- Charles Mingus: Mingus Three (Jubilee JLP 1054 )
- All other tracks are from Charles Mingus.
Editorial notes
The recordings first appeared on Jubilee Records. Under the title The Wild Bass, the recordings were released in 1964 as a mono LP Disques Vogue in France, in 1974 under Mingus Moods at TripAdvisor jazz in the United States. 1977 was followed by a version with the original song on Jubilee ( YW- 7566 -RO ) in Japan. After an LP version at Fresh Sound Records 1987, the first version was on compact disc in 1989, also at Fresh Sound Records. In Europe and the U.S., the album was released in 1997 then at Roulette Records. This was followed by editions in Europe, the label Doxy (2009), Poll Winner Records ( 2011) and DOL (2012 ).
Review
The Mingus biographer Horst Weber and Gerd Filtgen raise the quality of spontaneous session out, " after the dazzling phrased solo entry by Hampton Hawes in Yesterdays is clear that there will be an exciting affair. " Among the other highlights of the album include the authors Back Kome Blues, " in which one gets the impression [ was ] as if Mingus 's bass strings pulled to a deep black Blue Guitar", I Can not Get Started where the bass player is doing " of the narrative character of his instrument use ," and Summertime whose
Michael G. Nastos stated in Allmusic that the meeting of the two co-leader ( Hawes and Mingus ) "is a good case study in group dynamics " was " when deference under two strong-willed individualists has to compromise on the result." Drummer Danny Richmond was not so much the peacemaker or even the mediator; Instead, he passes this triad into a lovely whole, by Cool the glow with its steady and stubborn game. " Given the complexity of the music of Mingus tends otherwise, it's nice to hear what he does in a simplified environment. " His Back Home Blues is so simply laid out for it, as his bass, while the Mingus composition Dizzy Moods deeply rooted in easy swing and darker tones allow. Richmond uses the tambourine in Dizzy Moods; Summertime EIRD here interpreted in the style of A Night in Tunisia, while the fast Hamp 's New Blues Bop accents. Among the highlights is the author Hawes ' new arrangement of Yesterdays and the final number Laura, who sounded as if it were derived from Tea for Two. This album, according to the author in his resume, was a prelude to Money Jungle (1962).
David Rickert was surprised, as conventionally Mingus Three ( compared to the Mingus albums this time ) fails in All About Jazz; nevertheless Hampton Hawes was a great pianist and this is even more his album than any other. The group worked through a series of standards, which the round will be never too abstract. It 'll give a wealth of interaction, with Mingus show itself as an excellent accompanist.
Miles Jordan wrote in Jazz Times, this rare trio session from Charles Mingus was " both a showcase for Mingus as for Hawes ". "A fascinating sidelight to Both of Their careers ".