Customer Reviews

Mingus at Antibes

5 star:		(14)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Very progressive music for its time -- even for what Mingus was doing in the studio during this "Golden Age." From a music historian's perspective, it does rate five stars for that reason, and also because this is probably the best live recording that we have of Mingus. The music itself is also wonderful, except that Bud Powell's never-ending, never-interesting piano solo on I'll Remember April is, indeed, truly lame. If you are on a tight budget, I would opt first for Mingus Ah Um, Picanthropus Erectus, and (Mingus' masterpiece, in my opinion) The Black Saint and the Sinner Lady. On the other hand, those are not live recordings so my advice would be to splurge and get this one, too. Hey, it's Mingus, and that is a beautiful thing.

from California
Recorded live at the Antibes Jazz Festival in 1960, this CD presents some of Mingus' best live output, as well as superlative solo playing. At over 70 minutes long, with excellent, detailed liner notes by Robert Palmer, this is a must have for any jazz fan of the period. Perhaps not as wholly satisfying as "Ah Um" or "Oh Yeah," it is still a brilliant achievement.

"Wednesday Night Prayer Meeting" (11:54) is in the Mingus tradition of jazz/gospel/folk forms and features Ted Curson on trumpet and Eric Dolphy on alto sax. These horns produce torrents of sound against Mingus' turbulent bass and Dannie Richmond's cascades of percussion. Booker Ervin blows an extended Texas/avant-garde sax solo, wailing and zigzagging with Curson's trumpet. Amid some hand clapping and a minimal background, Dolphy overlays some outstanding and exciting work. Mingus' varied bass riffs are superbly imaginative (and well recorded)--this piece cooks! A nice messy gumbo of texture, sound, and jazz history.

"Prayer for Passive Resistance" (8:06) opens with a slap bass blues figure, while Booker Ervin blows some simple, soulful blues and squawks. Ervin's full tones sound very "present," while Mingus and the rhythm section get increasingly rapid and abstract. Overall, this song evolves rapidly between simplicity and complexity, perhaps reflecting the many implications of its title. The ending, returns to the opening prayer/blues format, perhaps a simple call to resolute action.

Mingus varied the song "What Is This Thing Called Love" many times; his "What Love" (13:34) on the 'Antibes' CD is a thoughtful, balletic composition. Mingus plays some beautiful, high register notes while the trumpet plays searching, somewhat melancholic tones. It is almost a prayer; a backdrop for contemplation. Mingus introduces some excellent tempo changes. At times, the trumpet's "Spanish" sound may remind you of Miles Davis' "Sketches of Spain," though the comping by Mingus (especially) lends energy not always heard on the Davis record. Ervin's tenor sax and Dolphy's brief but memorable bass clarinet grooves lend considerable depth. Dolphy and Mingus enjoy one of their famous bass/horn (again, bass clarinet) "conversations" towards the end. I have sometimes heard these exchanges as somewhat gimmicky and overrated, but this one is aesthetically and emotionally satisfying. The restatement of the theme lasts too long, but this is a beautiful song.

This quintet is joined by Bud Powell on "I'll Remember April" (13:39), a song where you can actually hear the original melody! It's a joyous outing, and the slightly conventional opening is thoroughly routed by Bud Powell's masterful piano break. Powell is confident and swinging (but less oblique); this is some of his most solid playing I've heard. While the horns lay out, Mingus, Richmond, and Powell form a dream trio, playing with clarity, empathy, and style! Curson's trumpet sounds a bit tentative (I was wishing for Clifford Brown more rounded tones here), but Ervin's bold flair and angularity on sax eventually lift the song. There's also a wonderful study in contrasts: Ervin's bold, slightly rough sax versus Dolphy's sinewy alto. Of Dolphy /bass clarinet. Mingus, as always, plays energetic, well placed counterpoint. The ending is too long, but this annoyance is offset by the continuing horn improvisations: there are just the briefest hints of both "A Night in Tunisia" and even "52nd Street Theme". One can also understand the length of a live performance.

"Folk Forms" begins with a familiar Mingus motif, then joined by the horns, particularly Curson on muted trumpet. There are various tempo changes, including disjointed stops and the composition resembles Ornette Coleman in its abstract bursts of tone. Dolphy and Mingus play some of their work on the CD here, with Mingus again in perfect counterpoint. Right when the intensity seems too much (and, unfortunately, too repetitive), Mingus' rapid bass backdrops several horn solos, with perfect punctuation by Richmond's drums. This middle section (about 4 minutes in) is where the band shines, especially Mingus. His bass sounds years ahead of his time, in an almost English rock/ blues attack (a la the Yardbirds, Cream, and perhaps even some David Bowie).

At about six minutes into the cut, the cacophony returns via Ervin's sax. His work is a little disappointing here, although Mingus continues to supply fecund kinetics. Then back to the simple bass figure that opened it. Overall, this is the most uneven of the tracks, but there's much to appreciate anyway, including a monster ending with Mingus exhorting the musicians on and whooping it up.

The opening of "Better Get Hit In Your Soul" (11:00) sounds more like march music here, and the riffs sound formal against a heavily accented beat. Then (as on much of this album) Mingus charges ahead as the other musicians solo off his turbo-charged bass. Ervin wails though some heavy blues amid some churchly hand clapping Ervin's intensity is evident, tearing a joyful noise into the salt air, and Dolphy adds much interest. It's pure bop with the Mingus touch. Designed to clean out your inner cobwebs! . This is not my favorite version of the song (there's not enough of Mingus' great piano riffing and is slightly disconnected), but is definitely a worthy version. The closing features great vocalizing by Mingus et al., along with a bowed bass that sounds like a baritone sax!

This is a very intense album, perhaps too much to absorb at one sitting. Although the studio albums "Ah Um" and "Oh Yeah" contain the definitive versions some of these compositions (and, therefore, are slightly better CDs), this is a rare chance to hear a quintessential Mingus quintet playing live and unrestrained. Mingus drives the whole album, he is simultaneously everywhere AND at the center.

Where to start? Listening to this album, I wonder if I would have been able to prevent myself from fainting had I been present at Juan les Pins seeing Mingus live. You see, the urgency, the virtuosity, the volatile elements that Mingus so effortlessly combines here make for some intense and challenging listening. And, when I say virtuosity, I mean it in both ways - individually and collectively. Every musician here is a master of his instrument, yet the almost telepathic communication between them is nothing short of miraculous. On "Better Git Hit in your soul", the band shifts tempos, meters and feels, and sections where the clapping of the band members is the only accompaniment, while the soloists soar in the stratosphere. The effect on me is incredible, even physical - I have stopped breathing sometimes! I wonder if Dolphy is even human. His playing here is pure fire, an incessant barrage of sound that never sounds repetitive and ignites the band to indescribable heights. Yet, he can also be pensive without losing his edge, as he does in "What Love?" - his trialogue with Mingus and Danny must be heard to be believed. Bass and bass clarinet dancing together like a choreographed couple, yet it is improvised. I don't want to ramble on. Just get this if you like Jazz or just creative music by creative musicians. You will be challenged. You will be moved. You will be swept off your feet. You will be different.

Recorded live at the Antibes Jazz Festival in 1960, this CD presents some of Mingus' best live output, as well as superlative solo playing. At over 70 minutes long, with excellent, detailed liner notes by Robert Palmer, this is a must have for any jazz fan of the period. Perhaps not as wholly satisfying as "Ah Um" or "Oh Yeah," it is still a brilliant achievement.

"Wednesday Night Prayer Meeting" (11:54) is in the Mingus tradition of jazz/gospel/folk forms and features Ted Curson on trumpet and Eric Dolphy on alto sax. These horns produce torrents of sound against Mingus' turbulent bass and Dannie Richmond's cascades of percussion. Booker Ervin blows an extended Texas/avant-garde sax solo, wailing and zigzagging with Curson's trumpet. Amid some hand clapping and a minimal background, Dolphy overlays some outstanding and exciting work. Mingus' varied bass riffs are superbly imaginative (and well recorded)--this piece cooks! A nice messy gumbo of texture, sound, and jazz history.

"Prayer for Passive Resistance" (8:06) opens with a slap bass blues figure, while Booker Ervin blows some simple, soulful blues and squawks. Ervin's full tones sound very "present," while Mingus and the rhythm section get increasingly rapid and abstract. Overall, this song evolves rapidly between simplicity and complexity, perhaps reflecting the many implications of its title. The ending, returns to the opening prayer/blues format, perhaps a simple call to resolute action.

Mingus varied the song "What Is This Thing Called Love" many times; his "What Love" (13:34) on the `Antibes' CD is a thoughtful, balletic composition. Mingus plays some beautiful, high register notes while the trumpet plays searching, somewhat melancholic tones. It is almost a prayer; a backdrop for contemplation. Mingus introduces some excellent tempo changes. At times, the trumpet's "Spanish" sound may remind you of Miles Davis' "Sketches of Spain," though the comping by Mingus (especially) lends energy not always heard on the Davis record. Ervin's tenor sax and Dolphy's brief but memorable bass clarinet grooves lend considerable depth. Dolphy and Mingus enjoy one of their famous bass/horn (again, bass clarinet) "conversations" towards the end. I have sometimes heard these exchanges as somewhat gimmicky and overrated, but this one is aesthetically and emotionally satisfying. The restatement of the theme lasts too long, but this is a beautiful song.

This quintet is joined by Bud Powell on "I'll Remember April" (13:39), a song where you can actually hear the original melody! It's a joyous outing, and the slightly conventional opening is thoroughly routed by Bud Powell's masterful piano break. Powell is confident and swinging (but less oblique); this is some of his most solid playing I've heard. While the horns lay out, Mingus, Richmond, and Powell form a dream trio, playing with clarity, empathy, and style! Curson's trumpet sounds a bit tentative (I was wishing for Clifford Brown more rounded tones here), but Ervin's bold flair and angularity on sax eventually lift the song. There's also a wonderful study in contrasts: Ervin's bold, slightly rough sax versus Dolphy's sinewy alto. Of Dolphy /bass clarinet. Mingus, as always, plays energetic, well placed counterpoint. The ending is too long, but this annoyance is offset by the continuing horn improvisations: there are just the briefest hints of both "A Night in Tunisia" and even "52nd Street Theme". One can also understand the length of a live performance.

"Folk Forms" begins with a familiar Mingus motif, then joined by the horns, particularly Curson on muted trumpet. There are various tempo changes, including disjointed stops and the composition resembles Ornette Coleman in its abstract bursts of tone. Dolphy and Mingus play some of their work on the CD here, with Mingus again in perfect counterpoint. Right when the intensity seems too much (and, unfortunately, too repetitive), Mingus' rapid bass backdrops several horn solos, with perfect punctuation by Richmond's drums. This middle section (about 4 minutes in) is where the band shines, especially Mingus. His bass sounds years ahead of his time, in an almost English rock/ blues attack (a la the Yardbirds, Cream, and perhaps even some David Bowie).

At about six minutes into the cut, the cacophony returns via Ervin's sax. His work is a little disappointing here, although Mingus continues to supply fecund kinetics. Then back to the simple bass figure that opened it. Overall, this is the most uneven of the tracks, but there's much to appreciate anyway, including a monster ending with Mingus exhorting the musicians on and whooping it up.

The opening of "Better Get Hit In Your Soul" (11:00) sounds more like march music here, and the riffs sound formal against a heavily accented beat. Then (as on much of this album) Mingus charges ahead as the other musicians solo off his turbo-charged bass. Ervin wails though some heavy blues amid some churchly hand clapping Ervin's intensity is evident, tearing a joyful noise into the salt air, and Dolphy adds much interest. It's pure bop with the Mingus touch. Designed to clean out your inner cobwebs! . This is not my favorite version of the song (there's not enough of Mingus' great piano riffing and is slightly disconnected), but is definitely a worthy version. The closing features great vocalizing by Mingus et al., along with a bowed bass that sounds like a baritone sax!

This is a very intense album, perhaps too much to absorb at one sitting. Although the studio albums "Ah Um" and "Oh Yeah" contain the definitive versions some of these compositions (and, therefore, are slightly better CDs), this is a rare chance to hear a quintessential Mingus quintet playing live and unrestrained. Mingus drives the whole album, he is simultaneously everywhere AND at the center.

Picking the best recording by Charles Mingus is next to impossible for me, he has numerous works that are nothing short of essential for any music(not just jazz) fan. As far as live albums however, it is hard to find any in jazz, or in other genre's that match this set for pure intensity. The band at Antibes included Mingus(bass), Booker Ervin(sax), Eric Dolphy(sax, clarinet, Dannie Richmond(drums)and Ted Curson(trumpet), all fine players on their respective instruments. On this recording all invloved play with white hot intensity, spurred on by Mingus' feral cries and exhortations. On PFPR Ervin plays gutbucket saxophone drenched in blues. Eric Dolphy nearly spontaniously combusts on several tracks with some of his most fierce playing. Legendary pianist Bud Powell drops in on I'll Remember April, which meanders quite a bit, but does give the listener a chance to catch his breathe before the next onslaught. The band connects the dots between primal blues, free jazz and gospel creating surging, swinging, unrelenting beast. Highly, highly recommended.

This is one of the most passionate, dynamic and fantastic albums ever. Curson is excellent, Ervin is soulful, Dolphy is on another planet! Mingus and Richmond drive the proceedings do hard that the Indianapolis 500 seems like a leisurely morning drive. I'll remember April is a nice break with Powell in top form. Ervin is at his preaching' best on "Prayer." Dolphy soars to new heights on "Folk Forms." This is almost 70 minutes of astounding music, not just jazz.

In 1960, Charles Mingus began experimenting with pianoles groups. This live performance, from the summer of 1960, finds Mingus accompanied by two reeds (Eric Dolphy on alto, Booker Ervin on tenor), one trumpet (Ted Curson) and his usual rhythm section partner in drummer Dannie Richmond. It was often felt that the lack of piano allowed the rest of the band to really cut loose. In this case, its certainly true.

Mingus' frontline wastes no time going on a tear, with stunning solos by Ervin ("Prayer for Passive Resistence"), Curson ("Wednesday Night Prayer Meeting") and Dolphy (just about everything) as each tune ends up becoming extended during long improvs. What's amazing is that even material I consider to be somewhat less interestng ("Wednesday Night Prayer Meeting" always sounded like a weak version of "Better Git Hit In Your Soul" to me) catches fire with Curson's fluid and agile solo setting the stage for jaw-dropping soloing from Dolphy who just really cuts loose (Dolphy was several months away from participating in Ornette Coleman's "Free Jazz"-- its really quite no wonder he participated in that session, given his fierce soloing here). And while "What Love" would receive a better reading (remarkably in the studio on "Charles Mingus Presents Charles Mingus") just a few months later, it certainly is a treat to hear Mingus and Dolphy dueling on bass and bass clarinet.

And speaking of treats, the band is joined by piano legend Bud Powell for a lovely take through "I'll Remember April" that if the rest of the record wasn't enough would certainly make this worth investigation.

In all, one of the really great live Mingus recordings. Highly recommended.

There is a spirituality to most Mingus live albums that is very evident here , especially in the playing of saxmen Eric Dolphy and Booker Ervin. I need to check out both of these dudes solo output, because they are two phenomenal geniuses who left early in their lives.

I was a year and twelve days when my parents oblivious to Antibes missed this concert in Juan-les-Pins. Many years later I tried to make up for it.
Darn swingless student parents starting off in forgotten corners with nothing but shoestrings. Cause it was clearly happening in Antibes.

If you want a nice live album from a place with spirits that touch you, real lyrical ones, percussively cool, this would be the one I'd pull out for that certain April birthday. If you were considering giving a gift that would be a gift, and worth the effort to try to wrap it up for your heart beat, click on.

I, personally, love Antibes. So, if I could walk, which I can't, I would go there and chill in july and catch the jazz again. Man. This work takes you there. And I'd do it with no regrets.
It's so now, so fresh. I find that remarkable. Listening this early evening is walk enough. It is alive, oddly enough. Really

One of the several Mingus works I'd describe as near-essential, not to mention probably his greatest live album ever. The group is a quintet, including key Mingus associates like the legendary Eric Dolphy and tenor saxophonist Booker Ervin (who played on Mingus Ah Um). You'd expect this to have a free-jazz influence, given Dolphy's presence, but that's not prominent (though it certainly shows up on "Better Get It In Yo' Soul", more specifically Dolph's playing): this leans more towards Mingus' rootsy, gospel-blues approach to jazz. There are even two takes on standards ("What Love?", a slightly revised "What Is This Thing Called Love?"; "April in Paris", which feels very out-of-place and is easily the weakest song on the album). Most of that are Mingus' gospel-blues concert standards like "Wednesday Night Prayer Meeting"; "Folk Forms Number 1" and "Better Get It In Yo' Soul" - all are played with Mingus' characteristic enthusiasm, all reveal the man's compositional brilliance, and the former is the album's top song, though "What Love?" deserves top honors too for the bass solo alone. If that weren't enough for you, the playing on this album is superb: just listen to the sax solo on "Better Get It In Yo' Soul"! Antibes isn't my favorite Mingus album like it used to be, but it's still a key part of the man's huge catalogue.