Customer Reviews

Live at Carnegie Hall

5 star:		(8)
4 star:		(0)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

This live recording captures the essence of Mingus' larger band excursions and is somewhat more improvised than many of his other larger band dates. For one the inclusion of Hamiet Bluiett adds a free sense that is not usually evident in a Mingus recording. Also the ever changing Rahsaan Roland Kirk equally adds color to this Mingus' lineup. The band takes Duke Ellingtons "C Jam Blues" and changes the whole texture and face of the song turning it into a partially improvised tour de force that features Bluietts baritone sax work and kirks tenor and stritch. The other tune is a masterfull take on "Perdido" and it is equally exciting. The amazing thing about this date is Mingus' ability to assemble the best players in jazz in one band and come up with something as good as this. I only wish that I had been there to witness this incredible live performance.

The other reviewers are absolutely correct in saying that this album is not a showcase for Mingus' compositions or arrangements. That should be obvious from the song selection, two of the most basic Ellington standards. It's a JATP-style blowing session, pure and simple, but what a blowing session! The soloing is uniformly excellent throughout, in keeping with Mingus' ability to draw the best out of musicians just by being there. However, the standout here, and clearly the reason for this album's release, is Rahsaan Roland Kirk, who takes two extended solos that absolutely stand the room on its collective ear. His consistent creativity, his amazing circle-breathing prowess, and his good-natured rivalry with fellow tenor man George Adams all conspire to bring the crowd to its feet. And check out his takeoff on Adams' trademark screeching style on C-Jam Blues! As Mingus said, "He's cuttin' him at his own s--t!"

Much of the appreciation of Mingus is due to his compositions. And, to be fair, they are among the best in the jazz canon. So, one might shy away from this album because it contains no original Mingus work. Don't let that fool you. Mingus also had the reputation of bringing out the best in those he played with, including Duke Ellington, or, in this case, five of the finest and most underrated saxophonists of the 20th Century: Roland Kirk, John Handy, Charles McPherson, Hamiet Bluiett, and George Adams. As an experiment, ask your favorite saxophonist which soloist he likes best - don't worry, he'll be familiar with the album. I must admit, I like Bluiett.

Mingus was never easily categorized - a modernist with a keen sense of jazz history, ironical towards the "copy-cats" of other great modernists, politically bitter in his public statements, etc.
At this CD, Mingus presided over two remarkable jam-sessions on tunes from Duke Ellington's magnificent repertoire.

Naturally, Ellington was just one of the influences on Mingus, who developed highly indivudual and instantly recognizable style and poetics, but this CD gives a great example of the way Mingus approached the music of his elder colegues. The performances are at the same time modern and swinging in the traditional sense, with Rahsaan Roland Kirk, George Adams, Hamiet Bluiett and others (who blew me out my mind with joy by their strong playing) constantly led by the leaders strong rhythmical pulse. A masterpiece.
Full of brilliant improvisations and "cutting contests", these two jams nevertheless have the feal of a "composition" (or "arrangement")in the sense of Ellington's or Mingus's best orchestral work.

I guess one of the reasons I like this so much is it was one of my first Mingus albums bought back in the 70's. Excellent band & while other Mingus albums may showcase his creativity more, this is an excellent example of something he also did with skill, assembling a top notch big band that just cooks.

Nothing like the dynamic of a live session where everybody's tuned in & getting inspiration from each previous solo.

These two tunes by Duke are very exciting with great saxophonists including Kirk,Handy,Adams. The sounds are very hard and very relaxed.Mingus's pupils are full of love to their great teacher's comeback.This is the one of the best live jazz recordings.

If you want to hear Mingus rave on one of his sick free jazz solos, this ain't the place to find it.....Migus says it best himself: "I used to play avant garde bass when nobody else did; now I play 4/4 because none of the other bass players do." - (1975) This record is The Master watching all of his children at play, and having a blast doing it. Five Stars.

This album is the proof that a great improviser/free jazz artist must be a very good straight jazz musician. And Mingus is the great! Highly recommended, even some people can said there's no solo part from Mingus himself... Great jazz, great music.

This is not a representative Mingus CD for the period. It has none of his compositions or arrangements, and he doesn't even take a solo. Compares favorably with other live CDs perhaps, or ones on which Mingus performs as a sideman, but a live CD with more Mingus influence, see Revenge! or At Antibes. The studio albums Changes One and Changes Two are from about this same period and show what he was really up to in those days. If you are a Mingus collector, At Carnegie Hall shouldn't be a high priority, unless you have just about every thing else.

I love Charles Mingus, but this album is boring. Mingus is best showcased when he does his own compositions or arrangements, or some dissonant interpretation of a standard. Here, we just get chorus after chorus of horns blowing over a simple blues. This is nothing but a late night jam session, and if it weren't for Mingus's name, this never would have seen reissue.