CHARLES MINGUS - Trio
Rhino 603497841035
Charles Mingus (bass); Hampton Hawes (piano); Dannie Richmond (drums)
Recorded 9th July 1957 in New York
Mingus trio recordings are rare. Probably the most famous is the one that he did with Duke Ellington and Max Roach. Whatever Mingus does he ensures that the music is vivid, memorable, The album here is all of those things.
The music was recorded in one day in 1957 for the Jubilee label with pianist Hampton Hawes, and drummer Danny Richmond. This is not a pianist trio with the bass and drums accompaniment. It is more collaborative with equality of voices being sought and achieved. Richmond’s association with the bassist lasted over twenty years. This new remastered and extended version has extra material of out-takes from the sessions.
The story of Hampton Hawes moves between sad, inspiring and tragic. He recorded his magnificent ‘All Night Sessions’ for Contemporary before he worked with Mingus. He describes in his book ‘Raise Up Off Me’ how he met Mingus and was offered the recording date. He writes’ I fixed and made the date. Sonny (Clark) came to the studio with me, and though he isn’t listed under the personnel he played the ending on one of the tracks because I was back in the bathroom fixing again. We got paid after the gig - Charles gave Sonny five dollars for his two chords - and you know we went straight to Harlem and got blind that night.’
Dannie Richmond is an under-rated drummer. He did his best work with Mingus and because of his loyalty he is not always seen for the innovator that he is. The shifting rhythms that Mingus developed need a drummer who could match the drive and ferocity of the bassist and shift the tempos.
The lucidity of Hawes' work on all the tracks is astounding especially when contrasted with the perfunctory written account of the session. His playing is exuberant, jubilant, suffused with the musicality and lyricism that he learnt from his bop heroes. His touch and the precision of his note choices illuminates all that he plays. The additional tracks add to the lustre of the session. The two ‘Untitled Blues’ are real blues and Hawes ensures that his lineage from Parker via Powell is at the heart of his playing.
Mingus is not a precise bass player, he values power and passion over subtlety. One of Mingus’ strongest solos is on ’I can’t Get Started’. The bass seems to impel more ideas from Hawes.
It is good to hear an album where the additional tracks are as good as the original material. There are notes from jazz writer Nat Hentoff and an essay from pianist and arranger Sy Johnson who collaborated with Mingus on many projects.
Reviewed by Jack Kenny
Rhino 603497841035
Charles Mingus (bass); Hampton Hawes (piano); Dannie Richmond (drums)
Recorded 9th July 1957 in New York
Mingus trio recordings are rare. Probably the most famous is the one that he did with Duke Ellington and Max Roach. Whatever Mingus does he ensures that the music is vivid, memorable, The album here is all of those things.
The music was recorded in one day in 1957 for the Jubilee label with pianist Hampton Hawes, and drummer Danny Richmond. This is not a pianist trio with the bass and drums accompaniment. It is more collaborative with equality of voices being sought and achieved. Richmond’s association with the bassist lasted over twenty years. This new remastered and extended version has extra material of out-takes from the sessions.
The story of Hampton Hawes moves between sad, inspiring and tragic. He recorded his magnificent ‘All Night Sessions’ for Contemporary before he worked with Mingus. He describes in his book ‘Raise Up Off Me’ how he met Mingus and was offered the recording date. He writes’ I fixed and made the date. Sonny (Clark) came to the studio with me, and though he isn’t listed under the personnel he played the ending on one of the tracks because I was back in the bathroom fixing again. We got paid after the gig - Charles gave Sonny five dollars for his two chords - and you know we went straight to Harlem and got blind that night.’
Dannie Richmond is an under-rated drummer. He did his best work with Mingus and because of his loyalty he is not always seen for the innovator that he is. The shifting rhythms that Mingus developed need a drummer who could match the drive and ferocity of the bassist and shift the tempos.
The lucidity of Hawes' work on all the tracks is astounding especially when contrasted with the perfunctory written account of the session. His playing is exuberant, jubilant, suffused with the musicality and lyricism that he learnt from his bop heroes. His touch and the precision of his note choices illuminates all that he plays. The additional tracks add to the lustre of the session. The two ‘Untitled Blues’ are real blues and Hawes ensures that his lineage from Parker via Powell is at the heart of his playing.
Mingus is not a precise bass player, he values power and passion over subtlety. One of Mingus’ strongest solos is on ’I can’t Get Started’. The bass seems to impel more ideas from Hawes.
It is good to hear an album where the additional tracks are as good as the original material. There are notes from jazz writer Nat Hentoff and an essay from pianist and arranger Sy Johnson who collaborated with Mingus on many projects.
Reviewed by Jack Kenny
