The compositions herein are performed by two of the famed Charles Mingus Jazz Workshop groups and they are considered among his best recorded works. These 1954 recordings represent the grass roots from where all the innovative forms and expressions of tomorrows jazz conceived by Mingus really began. From then on, Mingus became the most influential composer and bassist of various generations in jazz history. After its first date, he said about the improvised interplay between every instrument: I feel that it is usually impossible to attempt such delicacies with musicians who do not enjoy the unusual freedom or understand the thought of the leading instrument. Teo Macero, John La Porta, George Barrow and Mal Waldron, of course, are just as responsible as I am for the final construction.
01. Purple Heart (Charles Mingus) 5:37
02. Gregarian Chant (Charles Mingus) 2:51
03. Eulogy for Rudy Williams (Charles Mingus) 6:22
04. Tea for Two (Youmans-Caesar) 6:20
05. Getting Together (Charles Mingus) 4:42
06. What is This Thing Called Love? (Cole Porter) 8:08
07. Stormy Weather (Koehler-Arlen) 3:17
08. Minor Intrusion (Charles Mingus) 10:12
09. Abstractions (Teo Macero) 4:14
10. Thrice Upon a Theme (Charles Mingus) 6:40
11. Four Hands (Mingus-La Porta) 8:50
12. The Spur of the Moment - Echonitus (Charles Mingus) 8:38
Tracks #1-5, from the Savoy album "Jazz Composers Workshop" (MG12059)
Tracks #6-12, from the two 10-inch Period albums "Jazzical Moods, Vol. 1 & 2"
(SPL 1107 & 1111)
Personnel on tracks #1-5:
Teo Macero, George Barrow (ts, bs), Mal Waldron (p), Ch. Mingus (b), Rudy Nichols (d).
Recorded at Rudy Van Gelder Studio in Hackensack, NJ, October 31, 1954
Personnel on tracks #6-12: Thad Jones (tp), John La Porta (cl, as), Teo Macero, George Barrow (ts, bs), Charles Mingus (b, p), Clem DeRosa (d), Jackson Wiley (cello).
Recorded in New York City, December 1954
This compilation produced for CD release by Jordi Pujol
Blue Moon Producciones Discograficas S.L.
"The complex music on this set finds bassist Charles Mingus looking toward contemporary classical music in some of the rather cool-toned arrangements. It was not until later in 1955 that he found the right combination of influences in which to express himself best but these slightly earlier performances have their moments [...]"