CHARLES MINGUS - Jazz In Detroit/ Strata Concert Gallery /46 Selden
BBE453ACD
Charles Mingus Bass; Roy Brooks Drums; John Stubblefield Tenor Saxophone; Joe Gardner Trumpet; Don Pullen Piano
Recorded 13th February 1973
CD1: Pithecanthropus Erectus; The Man Who Never Sleeps; Peggy’s Blue Skylight.
CD2: Introduction by Bud Spangler / Celia; Bud Spangler interview with Roy Brooks and commentary.
CD3: C Jam Blues; Orange Was The Color Of Her Dress, Then Blue Silk; Dizzy Profile.
CD4: Noddin’ Ya Head Blues; Celia (alternate take).
CD5: Dizzy Profile (alternate take); Strata Gallery Announcement by Bud Spangler.
This is a remarkable discovery. The performance on the CDs was broadcast live on the one of Detroit’s radio station WDET FM. The tapes went to drummer Roy Brooks and it was his wife, Hermione Brooks, who eventually took the tapes to Brooklyn label 180 Proof Records, they released them in partnership with London's Barely Breaking Even label.
This small Mingus band was not recorded commercially; this is their only release. The club session took place soon after Mingus was dumped by Columbia’s Clive Davis. It was part of a clear-out: Ornette Coleman, Bill Evans & Keith Jarrett all getting fired on the same day. Fusion ruled! The audio quality of the CDs is reasonable and the only one who suffers is Mingus, his bass is faint at times. Like all Mingus albums, it is his forceful assertive pervasive presiding spirit that shines through.
Don Pullen dominates the record as he did many Mingus albums from this time forward. Introduced to Mingus by Roy Brooks, he was with Mingus from 1973 to 1975. His mixture of straight ahead playing with avant garde freedom is an amalgam of Bud Powell and Cecil Taylor. This set was recorded early in Pullen’s association with Mingus. Pullen’s knowledge of jazz piano styles means that his solos, rather like his predecessor Jaki Byard, are wild compendiums of stride, boogie and free jazz.
This was the only time that John Stubblefield played with Mingus. He eventually got in to a fight with Mingus and they went their separate ways. Not the first musician to quarrel with the great bass player! Years later Stubblefield did a great deal of work for Sue Mingus and the Mingus Band that she runs. At this stage of his playing life Stubblefield plays as if a little overawed. He lacks the commanding presence of George Adams who was around at this time and would soon join the band. Stubblefield’s best and most committed playing is on the Ellington piece.
Because of the size of the band we don’t hear Mingus’ use of tone colours. Nevertheless, it is always good to hear fresh versions of the great compositions like ‘Orange Was The Color Of Her Dress, Then Blue Silk’; ‘Pithecanthropus Erectus’ and ‘Peggy’s Blue Skylight’. Like Ellington, Mingus was always more interested in passion rather than accuracy.
‘Noddin Ya Head Blues’ has probably Joe Gardner’s best solo full of brass trills and well-spaced ideas. It is the kind of narrative solo with a great beginning an intriguing middle and a satisfactory end that carries you along with the story. Throughout the piece Pullen drives the soloists. The twenty-six minutes enables Don Pullen to give his idiosyncratic take on the blues. This is blues playing straight out the tradition. Byard would nod his head sagely at what his successor does. Drummer Brooks introduces the musical saw which has a unique almost human voice.
An fascinating melody with absorbing pulsing twists ‘Orange Was The Color Of Her Dress, Then Blue Silk’ is one of Mingus’ most enduring compositions. It is a composition that has a shape that ensures that the soloists have to sculpt their own solos. Joe Gardner leads on this and copes with the rhythmic changes. Pullen’s impassioned soloing dictates tempo changes.
Duke Ellington was a hero to Mingus who expresses his debt with ‘C Jam Blues’. It has a real night club start, it takes almost two minutes of hesitation before Pullen swings off. Pullen’s contribution starts softly and builds to a roar before handing over to Joe Gardner.
Probably the big surprise is drummer Roy Brooks. Danny Richmond was Mingus’ first choice drummer. Nevertheless, Brooks copes with the demands without being as dominant as Richmond was. It is not easy coping with a pianist like Pullen. Brooks’ solo on C Jam Blues is assertive and completely personal exploring the kit to bring out its depth.
There are parts of the package that is interesting to play once. On CD2 there are interviews with Bud Spangler, local DJ, and drummer Roy Brooks. They give an interesting insight into the music scene in Detroit at the time of the recording but it is unlikely that you would want to listen more than once.
An interesting inflation note. you could have bought an advanced ticket for the gig for $4 (adjusted for inflation, that's a little more than $23 now). It was $5 at the door.
This is an invaluable record of a Mingus evening in Detroit in 1973. However, there are better more essential records by the great bass player.
Reviewed by Jack Kenny
BBE453ACD
Charles Mingus Bass; Roy Brooks Drums; John Stubblefield Tenor Saxophone; Joe Gardner Trumpet; Don Pullen Piano
Recorded 13th February 1973
CD1: Pithecanthropus Erectus; The Man Who Never Sleeps; Peggy’s Blue Skylight.
CD2: Introduction by Bud Spangler / Celia; Bud Spangler interview with Roy Brooks and commentary.
CD3: C Jam Blues; Orange Was The Color Of Her Dress, Then Blue Silk; Dizzy Profile.
CD4: Noddin’ Ya Head Blues; Celia (alternate take).
CD5: Dizzy Profile (alternate take); Strata Gallery Announcement by Bud Spangler.
This is a remarkable discovery. The performance on the CDs was broadcast live on the one of Detroit’s radio station WDET FM. The tapes went to drummer Roy Brooks and it was his wife, Hermione Brooks, who eventually took the tapes to Brooklyn label 180 Proof Records, they released them in partnership with London's Barely Breaking Even label.
This small Mingus band was not recorded commercially; this is their only release. The club session took place soon after Mingus was dumped by Columbia’s Clive Davis. It was part of a clear-out: Ornette Coleman, Bill Evans & Keith Jarrett all getting fired on the same day. Fusion ruled! The audio quality of the CDs is reasonable and the only one who suffers is Mingus, his bass is faint at times. Like all Mingus albums, it is his forceful assertive pervasive presiding spirit that shines through.
Don Pullen dominates the record as he did many Mingus albums from this time forward. Introduced to Mingus by Roy Brooks, he was with Mingus from 1973 to 1975. His mixture of straight ahead playing with avant garde freedom is an amalgam of Bud Powell and Cecil Taylor. This set was recorded early in Pullen’s association with Mingus. Pullen’s knowledge of jazz piano styles means that his solos, rather like his predecessor Jaki Byard, are wild compendiums of stride, boogie and free jazz.
This was the only time that John Stubblefield played with Mingus. He eventually got in to a fight with Mingus and they went their separate ways. Not the first musician to quarrel with the great bass player! Years later Stubblefield did a great deal of work for Sue Mingus and the Mingus Band that she runs. At this stage of his playing life Stubblefield plays as if a little overawed. He lacks the commanding presence of George Adams who was around at this time and would soon join the band. Stubblefield’s best and most committed playing is on the Ellington piece.
Because of the size of the band we don’t hear Mingus’ use of tone colours. Nevertheless, it is always good to hear fresh versions of the great compositions like ‘Orange Was The Color Of Her Dress, Then Blue Silk’; ‘Pithecanthropus Erectus’ and ‘Peggy’s Blue Skylight’. Like Ellington, Mingus was always more interested in passion rather than accuracy.
‘Noddin Ya Head Blues’ has probably Joe Gardner’s best solo full of brass trills and well-spaced ideas. It is the kind of narrative solo with a great beginning an intriguing middle and a satisfactory end that carries you along with the story. Throughout the piece Pullen drives the soloists. The twenty-six minutes enables Don Pullen to give his idiosyncratic take on the blues. This is blues playing straight out the tradition. Byard would nod his head sagely at what his successor does. Drummer Brooks introduces the musical saw which has a unique almost human voice.
An fascinating melody with absorbing pulsing twists ‘Orange Was The Color Of Her Dress, Then Blue Silk’ is one of Mingus’ most enduring compositions. It is a composition that has a shape that ensures that the soloists have to sculpt their own solos. Joe Gardner leads on this and copes with the rhythmic changes. Pullen’s impassioned soloing dictates tempo changes.
Duke Ellington was a hero to Mingus who expresses his debt with ‘C Jam Blues’. It has a real night club start, it takes almost two minutes of hesitation before Pullen swings off. Pullen’s contribution starts softly and builds to a roar before handing over to Joe Gardner.
Probably the big surprise is drummer Roy Brooks. Danny Richmond was Mingus’ first choice drummer. Nevertheless, Brooks copes with the demands without being as dominant as Richmond was. It is not easy coping with a pianist like Pullen. Brooks’ solo on C Jam Blues is assertive and completely personal exploring the kit to bring out its depth.
There are parts of the package that is interesting to play once. On CD2 there are interviews with Bud Spangler, local DJ, and drummer Roy Brooks. They give an interesting insight into the music scene in Detroit at the time of the recording but it is unlikely that you would want to listen more than once.
An interesting inflation note. you could have bought an advanced ticket for the gig for $4 (adjusted for inflation, that's a little more than $23 now). It was $5 at the door.
This is an invaluable record of a Mingus evening in Detroit in 1973. However, there are better more essential records by the great bass player.
Reviewed by Jack Kenny
