At the time of this recording, Mingus had been working regularly with the piano-less quartet of Eric Dolphy, Ted Curson and Dannie Richmond - The same group featured on the 1960 Candid release, Charles Mingus Presents Charles Mingus. The Mingus album, also recorded that year, features one track, "Stormy Weather," recorded with that same quartet, and two tracks recorded with a larger group featuring piano and additional horns. Of note, "MDM (Monk Duke & Me)" consumes the majority of this album. The piece consists of three intertwining themes - Duke Ellington's "Main Stem", Thelonious Monk's "Straight, No Chaser", and Mingus' "Fifty First Street Blues." Released in 1961, and recorded in the fall of 1960 by Candid A&R and Producer Nate Hentoff at the Nola Penthouse Sound Studios.

Hailing from Cardiff, the outfit, led by bassist Cameron Saint, take to the big city as they launch their debut album 'Live at the Flute and Tankard'! Join them as they brew a concoction of burning solos, beautiful melodies and some trips into the avant-garde world! "The attitude and raucous spirit of Mingus, garnished with the elegance and atmosphere of British Contemporary Jazz… a delightful, fresh take on a monumental icon of Jazz History" - Alex Goodyear

In July of 1960, in protest against what they considered the failings of the jazz scene and the accelerating commercialization of the annual Newport Jazz Festival, Charles Mingus and Max Roach staged their own "rebel" festival at nearby Cliff Walk Manner, RI. The rebels set up their own tents for sleeping, built their own stage, handled advertising, promotion, ticket taking and MC duties. By all accounts the concert was wholly inspired and a peaceful affair. Meanwhile, what was supposed to be an alternative festival turned out to be the only one in town. Unable to disperse an intoxicated mob of young people seeking access to the sold-out show at Freebody Park, the actual Newport Jazz Festival ended abruptly in a full scale riot. Despite the fact that these sessions were held in the studio, the music reflects the high-spirited freedom of the best jazz played at the original setting with nearly all of it improvised during the recording. Of particular note is the Booker Little track "Cliff Walk," which features both Max Roach and Jo Jones, two of the greatest jazz drummers ever, trading off. The LP includes extraordinary liner notes written by Hentoff himself, giving a context and insight that adds to the experience of hearing these magnificent performances. This recording is remastered by legendary mastering engineer, Bernie Grundman.

"Jazz at Massey Hall" is an exhilarating live recording from one of, if not the finest quintets ever assembled. This legendary recording features performances by five of jazz’s leading players, Dizzy Gillespie, Charlie Parker, Bud Powell, Charles Mingus and Max Roach. The performance was listed on Guardian’s “50 Greatest Moments in Jazz”. Inducted into the GRAMMY Hall of Fame, the jam session is widely considered the greatest jazz concert ever.

"Cumbia & Jazz Fusion" is an electrifying work that features two extended compositions by one of the most notable figures in twentieth century American music. The title track highlights a varied use of woodwind instruments creating a full-bodied arrangement bursting with Latin and African rhythms. Compelling melodies can be experienced on the blues-inspired swing track “Music For Todo Modo”. The album is a fine recording late in Mingus’ extensive career.

On this brilliant 1964 release, bassist and composer extraordinaire Charles Mingus delivers a fiery, startling imaginative album of solo piano takes of his compositions, free improvisations, and jazz standards. Included are covers of "Body and Soul" and "I Can't Get Started", as well as originals such as "Orange Was the Color of Her Dress, Then Silk Blues". This classic release by one of jazz’s great revolutionaries is a great insight into the imagination of one of the most imaginative and prolific jazz musicians of the 20th Century.

Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes. 180-gram LPs pressed at Quality Record Pressings!

The radical discovery by Amir Abdullah of 5 two-track master tapes in the care of Hermine Brooks ­– widow of innovative Detroit drummer Roy Brooks – of the Charles Mingus Quintet recorded live in Detroit at Strata Concert Gallery is cause for some serious celebration.

Analogue Productions (Atlantic Series). Celebrating the 75th Anniversary of Atlantic Records!. 180-gram 45 RPM double LP. Mastered by Kevin Gray at Cohearent Audio from the original analog tape. Mingus taps blues and roots sources for a joyous swinging outing!. Plated and pressed at Quality Record Pressings! Gatefold old-style "tip-on" jacket by Stoughton Printing.

Innovative jazz composer and bassist Charles Mingus’ 1975 release, "Changes Two" is a refreshing blend of free jazz, bebop and gospel stylings. Mingus’ trademark horn arrangements and stunning melodies are highlighted through this diverse, intriguing and complex repertoire. Included on the album is the cinematic remake of his classic “Orange was the Color of Her Dress, Then Blue Silk,” a vocal rendition of “Duke Ellington’s Sound of Love” featuring Jackie Paris and the colorful “Free Cell Block F, ‘Tis Nazi U.S.A.” This mind-blowing hi-res download is the only way to experience one of jazz’s most legendary players.

Don't expect any poetry here, however an extended spoken word narration by actor Mel Stewart does kicks off the album. That's where the vocals begin and end on this instrumental collection. Mingus and his brilliant musicians do the talking here: the Penguin Guide To Jazz calls Clarence Shaw's performance on New York Sketchbook - "the best trumpet heard on a Mingus album for some time before or since".

This 1963 album by legendary bassist/composer Charles Mingus is one easily one of the most impressive and sprawling works in jazz history. The album features the signature pathos of his earlier work—screaming saxophones, a rocking and unpredictable rhythm section, and explosions of harsh dissonance followed by intensely emotional interludes that recall the great Romantic composers. An absolutely essential addition to any music-lover’s library, "The Black Saint and the Sinner Lady" is a true and unparalleled benchmark of jazz composition and improvisation.

Irascible, demanding, bullying, and probably a genius, Charles Mingus cuts himself a uniquely iconoclastic path through jazz in the middle of the 20th century, creating a legacy that became universally lauded only after he was no longer around to bug people. This album is a result of a session for 'Period Records' that was originally issued on two ten-inch records entitled 'Jazzical Moods'. The experimental workings of Mingus are briliantly explained in the booklet notes by the man himself in this suitably renamed format.

Known for defying boundaries, "Oh Yeah" is a testament to Mingus’ unparalleled versatility. The commanding record delivers Mingus’ distinctive and unique approach to musical composition. His blues-tinged vocals are soaked with stellar piano playing. The album finds Mingus collaborating with an all-star cast of musicians including trombonist Jimmy Knepper, multi-instrumentalist Rahsaan Roland Kirk and more. A strikingly energetic album that is sure to please all ears.

One of Charles Mingus' lesser-known band sessions, this lyrical set of five originals (plus the standard "Memories of You") features his usual sidemen of the period (trombonist Jimmy Knepper, trumpeter Clarence Shaw, Shafi Hadi on tenor and alto, and drummer Dannie Richmond), along with pianist Bill Evans. The music stretches the boundaries of bop, is never predictable and, even if this is not one of Mingus' more acclaimed dates, it is well worth acquiring for the playing is quite stimulating.