Charles Mingus Blues and Roots(jazz)(mp3@320)[rogercc][h33t]

CHARLES MINGUS BLUES & ROOTS Label: Atlantic Recorded: 4 February 1959 Released :1960 Format:Mp3@320 Mingus explained the birth of this record in the album's liner notes: This record is unusual—it presents only one part of my musical world, the blues. A year ago, Nesuhi Ertegün suggested that I record an entire blues album in the style of Haitian Fight Song (in Atlantic LP 1260), because some people, particularly critics, were saying I didn't swing enough. He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy. I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed. In response to critical carping that his ambitious, evocative music somehow didn't swing enough, Charles Mingus returned to the earthiest and earliest sources of black musical expression, namely the blues, gospel, and old-time New Orleans jazz. The resulting LP, Blues and Roots, isn't quite as wildly eclectic as usual, but it ranks as arguably Mingus' most joyously swinging outing. Working with simple forms, Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously — somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor. Anyone who had heard "Haitian Fight Song" shouldn't have been surprised that such an album was well within Mingus' range, but jazz's self-appointed guardians have long greeted innovation with reactionary distaste. After Blues and Roots, there could be no question of Mingus' firm grounding in the basics, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based — like the groundbreaking classic "Wednesday Night Prayer Meeting" — or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned "Wednesday Night Prayer Meeting" and the Jelly Roll Morton tribute "My Jelly Roll Soul." The recording session was reportedly very disorganized, but perhaps that actually helped give the performances the proper feel, since they wound up so loose and free-swinging. With a lineup including John Handy and Jackie McLean on alto, Booker Ervin on tenor, frequent anchor Pepper Adams on baritone, and Jimmy Knepper and Willie Dennis on trombones, among others, Blues and Roots isn't hurting for fiery soloists, and they help make the album perhaps the most soulful in Mingus' discography. Tracklist 1."Wednesday Night Prayer Meeting" – 5:39 2."Cryin' Blues" – 4:58 3."Moanin'" – 8:01 4."Tensions" – 6:27 5."My Jelly Roll Soul" – 6:47 6."E's Flat Ah's Flat Too" – 6:37 Personnel [color=lime]Charles Mingus – bass John Handy – alto sax Jackie McLean – alto sax Booker Ervin – tenor sax Pepper Adams – baritone sax Jimmy Knepper – trombone Willie Dennis – trombone Dannie Richmond – drums Horace Parlan – piano, except for "E's Flat Ah's Flat Too" Mal Waldron – piano on "E's Flat Ah's Flat Too"

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CalamARG (2013-04-06)

Gracias.

ManuHernz (2013-07-12)

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