CHARLES MINGUS -  TIJUANA MOODS - LAST OUT OF PRINT ISSUE FROM RCA RECORDS LSP-2533 - DYNASTY FROM COLUMBIA/SONY RECORDS CL-1440 & THE FANTASY RECORDS COLLECTORS RARE UNIQUE MARKETING STICKER ISSUE FROM 1983 OF BOHEMIA 

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TIJUANA MOODS

Charles Mingus said, “This is the best record I ever made.“ A long time Collectible Jazz Record, this July 18 and August 6, 1957 recording done in RCA’s Studio A will excite and satisfy any listener.

Accompanying Charles Mingus are on Trombone, Jimmy Keffer - Chris Porter, Alto Sax - Clarence Shaw, Trumpet - Bill Triglia, Piano - Danny Richmond, Drums - Frankie Dunlop, Percussion - Ysabel Morel, Castinets.

Songs include: DIZZY’S MOODS - YSABEL’S TABLE DANCE - TIJUANA GIFT SHOP - LOS MARIACHIS - FLAMINGO.

DYNASTY FROM COLUMBIA/SONY RECORDS CL-1440

Mingus was a great admirer of Duke Ellington and played in the latter's band until a notorious onstage fight with Juan Tizol. This album contains a variety of Mingus sounds, but much of the feeling is rooted in Ellington. This is especially true on "Song with Orange," "Things Ain't What They Used To Be," and, of course, "Mood Indigo."
The opener, "Slop (what a great title!)" is in the tradition of other aggressive blues/gospel inspired pieces like "Wednesday Night Prayer Meeting," and "Better Git It Into Your Soul." There are some familiar Mingus motifs, but Mingus "owns" this kind of song--no one does it better.
"Diane" begins with some "classical" piano which is a little overly dramatic at times. However, three minutes into it, Roland Hanna breaks into a soft Bill-Evans like mode, with excellent brush- and cymbal-work by the always-magnificent Dannie Richmond. It's an ambitious, beautiful, piece and mostly successful. "Gunslinging Bird," (the full title, as Mingus states in the excellent liner notes, is "If Charlie Parker Were a Gunslinger There'd Be a Whole Lot of Dead Copycats"), seems to play Bird as one baad dude.
"Things Ain't What They Used To Be," (written by Mercer Ellington, Duke's son) is relatively straight ahead jazz and borrows elements from Ellington and Basie. The next two numbers are also fairly straight, but are a little disappointing: Except for an intriguing middle sandwiched between a "Sketches of Spain"-like arrangement, "Far Well, Mill Valley" is less challenging than the other cuts (as is also track 7, "New Now Know How.")
The LP closes strong with 2 great tracks: "Mood Indigo," with its great, driving piano and bass playing, the short, interesting "Put Me in That Dungeon,"  which features vocals by Honey Gordon (sounding wonderfully similar to Ella). This cut was not on the original LP.
Mingus uses Hanna quite extensively on the album, and his contributions are enormous. Jimmy Knepper (trombone) and Booker Ervin (tenor sax) also shine, but really the entire lineup is excellent. ("Pithecanthropus Erectus," by the way, highlights Mingus' bass playing more than does "Mingus Dynasty.") This LP shows the Mingus dynamic within a large group format, and it gets better and better with every hearing. There are the original liner notes, plus additional notes by biographer Brian Priestley, and some excellent photos of Mingus playing and relaxing. Even if you're a Mingus fan with most of his LPs, this is a worthwhile addition

Track Listings

9. Put Me in That Dungeon

Charles Mingus Mingus LIVE At Bohemia LP - with this out of print COLLECTORS 1983 EDITION WITH THE unique marketing sticker with information about the artist and personnel involved in this masterpiece. Only available on this limited edition STICKER pressing FROM THE 80'S.

This was Charles Mingus’s first recording with a working band of his own, issued on his own enterprising Debut label. The group was also the first to carry the Mingus Jazz Workshop banner. Recorded live, the music is among the earliest examples of the inspired interplay Mingus demanded from his musicians, and the unity of musical purpose he strived after. “Work Song” was the first Mingus composition with a socially conscious title and message. Max Roach, Mingus’ partner in the Debut venture, sits in for “Percussion Discussion,” a rousing duet (Mingus overdubbed a third part, played on piccolo bass). Barrow and Bert rise to the occasion, Waldron is already himself, and Jones, a Monk graduate, plays with taste and intelligence. This is an important milestone in the saga of Charles Mingus.

Features:
• Vinyl LP

Musicians:
Charles Mingus, bass
Eddie Bert, trombone
George Barrow, tenor
Mal Waldron, piano
Willie Jones, drums
Max Roach

Selections:
1. Jump Monk
2. Serenade in Blue
3. Percussion Discussion
4. Work Song
5. Septemberly
6. All the Things You C#

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