| | Charles Mingus Changes One CD Charles Mingus Discography of CDs
CHANGES ONE (and its companion disc CHANGES TWO, both recorded in a single session) features outstanding performances of Mingus's intense, expressive compositions and is considered, even by the bassist himself, to be among his finest work. This group of intelligent, technically superior musicians, consisting of tenor sax, trumpet, piano and drums, had been playing together for two years at the time of recording and were at the peak of their collaborative powers. The tracks are as diverse as they are engaging-- ranging from the mind-boggling complexity of "Sue's Changes (with shifts of tempo, theme and mood, showered over by Don Pullen's keyboard flurries) to the straightahead rock of "Devil Blues" (with a spirited, shouting blues vocal by saxophonist George Adams).
Emotions run high through the album as well, particularly in the passionate, swelling tenderness of "Duke Ellington's Sound of Love," an elegy to one of Mingus's heroes. Supported throughout by the artist's fat, elastic bass tone and the protean, articulate musical personalities of his band, the compositions are textural, challenging and multi-faceted, while still managing to remain accessible. Highly recommended, CHANGES ONE (particularly in conjunction with TWO) acts as an excellent introduction to the music of this jazz pioneer.
Recorded at Atlantic Recording Studios, New York, on December 27, 28, & 30, 1974. Originally released on Atlantic (1677). Includes liner notes by Nat Hentoff.
Personnel: George Adams (vocals, tenor saxophone); Jack Walrath (trumpet); Don Pullen (piano); Dannie Richmond (drums).
Audio Remasterer: Gene Paul.
Audio Remixers: Ilhan Mimaroglu; Bobby Warner.
Liner Note Author: Nat Hentoff.
Recording information: Atlantic Recording Studios, New York, NY (12/27/1974-12/30/1974).
Photographer: David Gahr.
Personnel: Charles Mingus (bass); George Adams (vocals, tenor saxophone); Jack Walrath (trumpet); Don Pullen (piano); Dannie Richmond (drums).
Q (9/96, p.140) - 4 Stars - Excellent - "Late-period Mingus...wherein trademark musical tangents and indulgent titling...are reassuringly present."
JazzTimes (12/93, p.63) - "...Mingus' '70s quintet with George Adams, Jack Walrath, Don Pullen and Dannie Richmond was his last great small group...CHANGES ONE and [CHANGES] TWO are not among Mingus' most ambitious recordings, but they are among his most satisfying...."
Mojo (Publisher) (p.119) - 3 stars out of 5 - "Mingus's vibrant 1974 set..." Charles Mingus Changes One Songs Changes One Review
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Purchase Changes One CD To buy, Click on price to add to cart | Charles Mingus Mingus At Antibes CD (1960)
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Among the best of Mingus' later work, CHANGES TWO (and its companion disc CHANGES ONE, both recorded in a single session) is a compelling journey into the kaleidoscopic world of this genius bassist/composer. Recalling ...
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For bassist/composer Charles Mingus, many of the leading edge trends of the late '50s-early '60s did not significantly alter his musical outlook--an outlook he had been nurturing since the 1940s when he first made his mark as Baron Mingus. "Mingus, The Composer" was Charlie Parker's affectionate commission for the Californian bassist, who first made waves with "Mingus Fingers" for ...
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Recorded between 1945 & 1986. Includes liner notes by Bob Blumenthal.
Davis spent the most groundbreaking years of his career on Columbia; volume eight of that label's "This Is Jazz" series offers a survey, however inherently limited, of his work from 1955 to 1965, a period that covers his two classic quintets, the recording of KIND OF BLUE and his first work with Gil Evans. What THE BEST OF MILES DAVIS includes is material from BIRTH OF THE COOL, represented by three cuts from that LP, and from sessions done between 1952 and 1954 that featured musicians like J.J. Johnson, Jackie McLean, Jimmy Heath, Percy Heath and Art Blakey. It's an interesting period, in that neither Blue Note nor Davis had quite developed into the icons they were about to become. Ironically, with the final two cuts on this collection (from 1959's SOMETHING ELSE), both the label and Miles can be heard doing precisely what they became best known for: the album, released under Cannonball Adderly's name, imparts the smoky, noir atmosphere that characterized Blue Note's reputation as the home of hard bop, while Davis, radically reinterpreting standards like "Autumn Leaves," sounds at once pointillistic, introspective and decidedly badass.
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