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The piece consists of three intertwining themes - Duke Ellington's ‚ÄúMain Stem‚Äù, Thelonious Monk's ‚ÄúStraight, No Chaser‚Äù, and Mingus' ‚ÄúFifty First Street Blues.‚Äù\u003c\/p\u003e\u003cp\u003eReleased in 1961, and recorded in the fall of 1960 by Candid A\u0026amp;R and Producer Nate Hentoff at the Nola Penthouse Sound Studios. \u003c\/p\u003e\u003cp\u003eThe LP includes extraordinary liner notes written by Hentoff, giving a context and insight that adds to the experience of hearing these magnificent performances.\u003c\/p\u003e\u003cp\u003eA1. MDM 19:52\r B1. Stormy Weather 13:25\r B2. 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INCARNATIONS is a new masterpiece thoughtfully assembled from rare and unreleased material from those sessions that stands proudly in the Mingus canon of masterworks. \u003c\/p\u003e\u003cp\u003eAll but one of the tracks here are from the November 11th, 1960 sessions Mingus and producer Nate Hentoff put together.  The date was split into two halves: one a pure Mingus-led date, featuring a six-piece band that expanded into an octet for two additional tunes, and another, a partial reunion of a collective that had assembled in opposition against George Wein‚Äôs Newport Jazz Festival that past July.  (That collective, calling themselves The Jazz Artist Guild, would release the album Newport Rebels, on Candid in 1961.)\u003c\/p\u003e\u003cp\u003eOf special note here is the one track recorded during the Mingus October 20th 1960 sessions.  It is a previously unreleased track titled  ‚ÄúAll The Things You Are (All.)‚Äù  Found on a tape that contained material from both of these fall 1960 dates, the piece has its roots in an Art Tatum rendition of ‚ÄúAll the Things You Are,‚Äù which Mingus had recorded before in various settings.  \u003c\/p\u003e\u003cp\u003eFeaturing Booker Ervin, Eric Dolphy, Charles McPherson, Ted Curson Lonnie Hillyer, Roy Eldridge, Jimmy Knepper, Britt Woodman, Tommy Flanagan, Paul Bley, Dannie Richmond and Jo Jones.  With audio restored and remastered by Bernie Grundman, and liner notes by Pitchfork and New York Times contributor Hank Shteamer, this album is a must have for any Mingus fan.\u003c\/p\u003e\u003cp\u003eA1. Bugs (Take 3)  A2. R\u0026amp;R (Take 1)  B1. All The Things You Are (All) *Previously Unreleased  B2. Reincarnation Of A Love Bird (2nd Version, Take 1)  B3. 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Although Mingus’ small-group recordings are the ones most often cited as his premier works, this album does, in fact, rank at the top of his oeuvre and compares favorably with the finest large-ensemble jazz recordings by anyone, including Ellington.\u003c\/p\u003e\n\u003cp\u003eThe pieces had been brewing over the years, one from as far back as 1939, and had been given more or less threadbare performances on occasion, but this was his first chance to record them with a sizable, well-rehearsed orchestra. Still, there were difficulties, both in the recording and afterward.\u003c\/p\u003e\n\u003cp\u003eThe exact personnel is sketchy, largely due to contractual issues, several arrangers were imported to paste things together, making the true authorship of some passages questionable, and Macero (as he did with various Miles Davis projects) edited freely and sometimes noticeably. The listener will happily put aside all quibbles, however, when the music is heard. From the opening, irresistible swing of “The Shoes of the Fisherman’s Wife Are Some Jiveass Slippers” to the swirling depths of “The I of Hurricane Sue,” these songs are some of the most glorious, imaginative, and full of life ever recorded. Each piece has its own strengths, but special mention should be made of two. “Adagio Ma Non Troppo” is based entirely on a piano improvisation played by Mingus in 1964 and issued on Mingus Plays Piano. Its logical structure, playful nature, and crystalline moments of beauty would be astounding in a polished composition; the fact that it was originally improvised is almost unbelievable.\u003c\/p\u003e\n\u003cp\u003e“Hobo Ho,” a holy-roller powerhouse featuring the impassioned tenor of James Moody, reaches an incredible fever pitch, the backing horns volleying riff after riff at the soloists, the entire composition teetering right on the edge of total chaos. Let My Children Hear Music is a towering achievement and a must for any serious jazz fan. Included is the essay that accompanied the album. That essay, covering enormous territory, reads like an inspired Mingus bass solo and should be sought out by interested listeners. One can’t recommend this album highly enough.\u003c\/p\u003e\n\u003cp\u003eBy Brian Olewnick\u003c\/p\u003e \u003cul\u003e\n\t\u003cli\u003eLP x 1 standard sleeve with insert of Charles Mingus essay.\u003c\/li\u003e\n\t\u003cli\u003eArrangements by Sy Johnson Recorded Sep 23rd \u0026amp; 30th, Oct 1st \u0026amp; Nov 18th 1971\u003c\/li\u003e\n\u003c\/ul\u003e PPAN KC31039 -Artist-Charles Mingus\u003cul\u003e\n\u003cli\u003eHandling Note: **Please allow an additional 5 business days for this item's shipment.**\u003c\/li\u003e\n\u003cli\u003eFormat Detail: LP Black\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Charles Mingus","offers":[{"title":"Default Title","offer_id":44260302323910,"sku":"J7MAHS-ZI5D-05","price":35.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/charles-mingus-let-my-children-hear-music_4T56I.jpg?v=1762325182"},{"product_id":"charles-mingus-mingus-at-carnegie-hall-deluxe-edition-vinyl","title":"Mingus At Carnegie Hall Deluxe Edition [Vinyl]","description":"\u003cp\u003eOne of the most important figures in twentieth century American music, Charles Mingus  was a virtuoso bass player, accomplished pianist, bandleader and composer. Born on a  military base in Nogales, Arizona in 1922 and raised in Watts, California, his earliest musical influences came from the church—choir and group singing—and from “hearing Duke  Ellington over the radio when [he] was eight years old.” His early professional experience,  in the 40s, found him touring with bands like Louis Armstrong, Kid Ory and Lionel Hampton.  Mingus’ career has spanned three-decades and he collaborated with other jazz legends such  as Louis Armstrong, Duke Ellington, Charlie Parker, Dizzy Gillespie, and Herbie Hancock.  Mingus’ compositions retain the hot and soulful feel of hard bop, drawing heavily from black  gospel music and blues, while sometimes containing elements of Third Stream, free jazz,  and classical music. Because of his brilliant writing for midsize ensembles, and his catering  to and emphasizing the strengths of the musicians in his groups, Mingus is often considered  the heir of Duke Ellington. From the 1960s until his death in 1979 at age 56, Mingus remained  in the forefront of American music. When asked to comment on his accomplishments,  Mingus said that his abilities as a bassist were the result of hard work but that his talent  for composition came from God. He died in Mexico on January 5, 1979, and his wife, Sue  Graham Mingus, scattered his ashes in the Ganges River in India. Both New York City and  Washington, D.C. honored him posthumously with a “Charles Mingus Day.”\u003c\/p\u003e\n\u003cp\u003eOriginally recorded on January 19, 1974, Mingus At Carnegie Hall was released as  a 1LP that only featured 2 long tracks (“C Jam Blues” and “Perdido”) from the concert; one  track per LP side, and features Jon Faddis, Charles McPherson, John Handy, George Adams,  Rahsaan Roland Kirk, Hamiet Bluiett, Don Pullen, and Dannie Richmond. Yet the original  concert in January of ‘74 included 2 hours of performances, but nearly 70+ minutes were  left on the cutting room floor. With jazz music on the decline in the US in the 1970s, Atlantic  Records was probably concerned about releasing a 3LP set at a higher price point that only  the most ardent fans would purchase at the time. Well, after 47 years and in honor of this  year’s Black Music Month, Run Out Groove has righted the course of this ship, issuing the complete 1974 Mingus At Carnegie Hall album with over 72 minutes of unreleased  material and putting the original running order of the concert in correct sequence. The deluxe 3LP set features never-before-seen photos taken by original photographer Gal Costa  and new liner notes by Jazz historian and producer, Michael Cuscuna.\u003c\/p\u003e \u003cul\u003e\n\t\u003cli\u003e72 minutes of unreleased  material\u003c\/li\u003e\n\t\u003cli\u003eFeatures never-before-seen photos taken by original photographer Gal Costa\u003c\/li\u003e\n\t\u003cli\u003eNew liner notes by Jazz historian and producer, Michael Cuscuna\u003c\/li\u003e\n\u003c\/ul\u003e ROGV-134 -Artist-Charles Mingus\u003cul\u003e\n\u003cli\u003eReleased: 7\/8\/21\u003c\/li\u003e\n\u003cli\u003eHandling Note: **Please allow an additional 5 business days for this item's shipment.**\u003c\/li\u003e\n\u003cli\u003eFormat Detail: 3LP Black\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Charles Mingus","offers":[{"title":"Default Title","offer_id":44303431368902,"sku":"O2LNTX-NJM0-JM","price":54.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/charles-mingus-mingus-at-carnegie-hall-deluxe-edition_4gOZm.jpg?v=1759806414"},{"product_id":"charles-mingus-east-coasting-vinyl","title":"East Coasting [Vinyl]","description":"\u003cp\u003eCharles Mingus is usually known for his wild, soulful and avant-garde compositions. “East Coasting” is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as “soulful” in the traditional sense, but his introverted and sensitive style works well with Mingus’s music. His playing on “West Coast Ghost” (the album’s stand-out track) and “Celia” are two examples of Evans’ ability to understand an artist’s musical vision and play accordingly in his own beautifully original style.\u003c\/p\u003e\n\u003cp\u003e“East Coasting” sounds like the prototypical 1950s jazz recording. It’s something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It’s what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly- to young people who have just been blown away by Kerouac’s novel “On the Road” and have become interested in exploring Jazz. “East Coasting” will allow them to get a taste of lost creative America. S. 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Hybrid Stereo SACD Mastered by Kevin Gray at Cohearent Audio from the original analog tape direct to DSD! Mingus taps blues and roots sources for a joyous swinging outing! AllMusic marks Charles Mingus' Blues \u0026amp; Roots as a rejoinder to the critical carping that the virtuoso bass player and accomplished jazz pianist and bandleader and his evocative music 'somehow didn't swing enough.' For this album Mingus turned to the earthiest and earliest sources of black musical expression - blues, gospel, and old-time New Orleans jazz. The resulting album ranks arguably as Mingus' most joyously swinging outing. Recorded in 1959 and released in 1960, Blues \u0026amp; Roots' birth was explained by Mingus 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 Ertegun 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.' Anyone who had heard 'Haitian Fight Song' shouldn't have been surprised that such an album was well within Mingus' range. 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. That modern flavor is reinforced and enhanced by the lush Analogue Productions reissue treatment that gives this new version more depth, richer sonic execution and acute audio clarity, particularly in the higher frequencies. Expert mastering from the original master tape by Kevin Gray at Cohearent Audio direct to DSD makes this Hybrid Stereo SACD sound incredible. There's no question of Mingus' firm grounding in the basics on Blues \u0026amp; Roots, writes AllMusic, 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. 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