This live date, recorded January 16, 1959 at Nonagon Art Gallery in New York City features John Handy on alto sax, Booker Ervin on tenor sax, Richard Wyands on piano, Dannie Richmond on drums, and Charles Mingus on bass. It's a chance to hear Mingus the bassist and Mingus the leader in action with a small group; the recording quality is excellent.
This is an LP reissue of a set that was originally titled Pre Bird because it features some of the advanced originals that Charles Mingus wrote prior to hearing Charlie Parker. The bassist leads an undisciplined but colorful 25-piece orchestra on three titles including an Eric Dolphy feature on "Bemonable Lady" while the other five tracks are by a ten-piece (including two pianos) band; Lorraine Cousins sings "Eclipse" and "Weird Nightmare." It's an interesting set of typically unconventional music by Mingus.
Most often heard in large ensembles and rarely in a trio context, Charles Mingus joined forces with pianist Hampton Hawes for this 1957 studio date. It features four standards, two originals by the bassist, and a jam by the group credited to Hawes. While there's nothing particularly arresting or startling about the date, the relationship between the two ostensible co-leaders is a good case study in group dynamics when deference between two strong-willed individualists turns into a certain amount of compromise.
So many of the jazz great are now gone, a fact that no one would dispute but that really hits home after listening to a masterpiece such as this reissue of Charles Mingus' Mingus Moves. Not only have we lost the impetuous bassist and composer, but also drummer Dannie Richmond, tenor titan George Adams and the extraordinary pianist Don Pullen. The latter three men, in particular, were taken way before their times and one longs for the incendiary magic that the Pullen-Adams group (the seeds of which are planted here) conjured for a brief spell in the '80s.
Very nice set of Mingus' legendary Candid recordings – produced in 1960, after Mingus angrily departed Columbia records, and was finally given the freedom to work in the way that he wanted. The recordings are some of Mingus best – and they feature a righteous anger and sheer jazz power that's unmatched by few other recordings.