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Presents Charles Mingus
Import, Extra Tracks
| Price | New from | Used from |
|
Audio CD, October 24, 2000
"Please retry" | $13.98 | $9.48 |
|
Vinyl, Deluxe Edition, Import, December 21, 2018
"Please retry" | $19.99 | $27.62 |
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Track Listings
| 1 | Folk Forms No.1 13:05 |
| 2 | Original Faubus Fables 9:07 |
| 3 | What Love 15:23 |
| 4 | All the Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother 8:36 |
| 5 | Stormy Weather 13:26* |
| 6 | Melody from the Drums 9:18* |
Editorial Reviews
Digitally remastered and expanded edition. In 1960, celebrated Jazz critic Nat Hentoff called Charles Mingus to record a number of sessions for the new Candid label. Mingus was given absolute freedom on these sessions. The results of the first date were issued on the celebrated Charles Mingus Presents Charles Mingus, which appears here in it's entirety along with two additional tracks that complete the session. The band consists of a pianoless quartet with trumpeter Ted Curson, alto saxophonist Eric Dolphy (who also plays bass clarinet on one track), Mingus on bass and veteran Mingus drummer Dannie Richmond. Essential Jazz Classics.
Product details
- Product Dimensions : 4.88 x 5.63 x 0.47 inches; 3.95 ounces
- Manufacturer : Essential Jazz Class
- Original Release Date : 2011
- Date First Available : May 19, 2011
- Label : Essential Jazz Class
- ASIN : B0051GHQSW
- Number of discs : 1
- Best Sellers Rank: #314,093 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #1,615 in Avant Garde & Free Jazz (CDs & Vinyl)
- Customer Reviews:
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Mingus had one of his best bands together for "Presents": the great Eric Dolphy; trumpeter Ted Curson; and constant musical companion drummer Dannie Richmond. All step firmly into Mingus's musical world and deliver inspired performances.
One could go on and on about the power of these performances, from Mingus's rumbling bass, to Dolphy's torrential attacks on alto and bass clarinet, to Curson's swaggering trumpet, to Richmond's faultless accompaniment. The words, however, would not capture what simple, uninterrupted listening accomplishes. But I will simply point to the band's astonishing ability to change tempos, seemingly without effort, as evidence of the remarkable level of musicianship that each member possessed.
I always admired Mingus's penchant for reworking material and finding new ways to play it. "Presents" offers new evidence of this, as on "Original Fables of Faubus," his stinging attack on the racist Arkansas governor of the civil rights era. This version features Mingus and Richmond taunting Faubus behind the tune's famous mocking musical line as a warmup for Dolphy and Curson, who deliver solos of deeply satisfying depth and intensity. It's interesting to compare this version with the one presented on "Mingus Ah Um." No offense to the earlier one, but the version here is, for me, much the more memorable of the two.
Much credit for the quality of this recording goes to Nat Hentoff, who was the driving force behind the Candid label, a lamentably brief effort to give musicians creative control over their recordings. Mingus and company take full advantage on this great release, a must for any good jazz CD collection.
As good as "Oh Yeah".
Oh Yeah and Kind of Blue being in the top 5 (10) jazz music presentations ever.
PS let's not forget Monk and Bud, (perhaps Dizz as well).
This Lp is truly a masterpiece.
....
Top reviews from other countries
Cover: Reasonable card stock, slight matte finish, can visually appear a bit “flat”. Reasonable image Bar code on hype sticker
Liner: poly lined paper
Vinyl: slight edge warp, very dirty, needed repeated ultrasonic cleans, still the odd pop & click, some vinyl roar in quiet spaces
3* great music, a reasonable recording but let down by an indifferent pressing. My copy was slightly warped, very dirty with surface noise and some pops & tics. If this pressing were done to the quality of a Blue Note Classic Series it would sound WOW, it does not, a shame as the music is so engaging
• Clarity – very good
• Channel separation - very good
• Channel balance - excellent
• Sound Stage – good but with very hard left, right panning, little projection of the image
• Distortion – non clearly audible
• Compression – good dynamic and frequency range but a bit muted & dull at times
• Atmosphere – little sense of space or place
• Bass – low frequencies – the acoustic bass has excellent tone & definition. The drums tend to sound all the same volume. The drums & bass are on the left, horns & piano on the right with little in-between was perhaps not the best choice
• Treble – high frequencies – Generally just fails to shine
• Vocals – well defined and clearly audible
I have not set out to write reviews of the music content as “beauty is in the ears of the listener”. These reviews are about the quality (or not) of the recorded sound. To read about how the reviews are done please see my profile.
As a general rule of thumb recordings from the 1960’s, 70’s and 80’s are nearly always better on the original vinyl. Remasters often fail to please as it’s just not possible to make a silk purse from a sows ear, i.e. the original recording lacks the necessary detail to be processed digitally and show an audible improvement. Indeed such processing can make the sound worse.
Modern recordings which have been processed digitally from start to finish can be as good as vinyl. CD’s are often unfairly criticised for being poor quality. This is not the case, it is the original recording or the process which is to blame. Modern “remasters” can both enhance and degrade a recording. The statement GIGO (Garbage In Garbage Out) is the limiting factor. Ignore this at your cost.
Io adoro questo artista, lo reputo un genio assoluto delle arti del 900 senza mezzi termini.
Ho amato praticamente tutta la produzione di questo vulcanico artista e ho anche la supponenza di dire che io conosco bene la produzione di Charles Mingus.
Ho la fortuna di avere questo album in vinile (cosa non facile dico con non poco orgoglio) e prendere questa versione in cd non è altro che un atto d'amore verso quel vinile che d'ora in avanti dovrà subire molto meno l'usura di un fonorivelatore.
Francamente non so da dove incominciare a tessere le lodi di quest'opera d'arte. Che considero una delle cose più intense, poetiche, originali, provocatorie, sperimentali che il 900 musicale ci ha regalato.
Se si vuole conoscere la poetica e l'intensità espressiva di questo musicista questo album è imprescindibile.
Registrato nel 1960, precisamente il 20 ottobre (una volta i veri musicisti avevano poche balle, si buttavano giù le idee base, si entrava in studio ci si guardava negli occhi e si iniziava a suonare) vede Mingus affiancato dal suo fido batterista Dannie Richmond, dal troppo sottovalutato Ted Carson alla tromba e da un altro genio degno di stare al suo fianco ossia Eric Dolphy al sax alto e al clarinetto basso (attenzione al retro copertina dove viene indicata la presenza di Booker Ervin al posto di Dolphy, errore rimediato nelle note interne).
Cosa fanno questi quattro musicisti insieme? mettono in atto il genio mingussiano, creano una musica che va oltre il jazz canonico, che lambisce il free jazz ma che può tranquillamente essere considerata avanguardia accademica. Ma questa non è certo una musica algida, tutt'altro.. il senso del blues, la grande abilità lirica di Mingus resta vitale, qui avverti il suo dolore, il suo urlo di rabbia, l'urlo di chi è stanco dei soprusi razziali, delle ingiustizie e delle discriminazioni. Ma avverti anche la sue fede, la sua speranza, la sua gioia di vivere. Qui dentro avverti il suo orgoglio nero ma anche la sua voglia di essere considerato un compositore classico. Capisci subito che Mingus è cresciuto in Chiesa, ascoltando i gospel e gli spirituals, capisci che ha bazzicato sia la scena newyorkese che quella californiana del jazz anni 50, ma cogli il suo amore per la scuola francese e russa di inizio secolo.
Capisci che era un "bastardo" anche musicalmente, che non lo potevi ingabbiare in uno stile anche se vario come il jazz. Mingus andava oltre, guardava oltre. E avere al suo fianco una figura come Dolphy ha influito non poco sulla sua apertura a sonorità nuove, altre... Dolphy che da qui al 1964 dividerà mille avventure con Mingus, contribuendo in maniera determinate alla nascita del free jazz. Dolphy che ha reso ancor più grande Mingus ma anche Coltrane. Dolphy di cui ci si dovrebbe ricordare più spesso. Dolphy che se non fosse morto cosi giovane avrebbe potuto diventare il jazzista più influente e determinate del suo tempo, avrebbe potuto aprire nuove vie....
"Charles Mingus present Charles Mingus£ non è un semplice album musicale. E' un'opera d'arte completa, un manifesto di un uomo e di un epoca di grandi fermenti culturali e politici. Definirlo un grande album jazz significa banalizzarlo. E non è il caso.
Questo album dovrebbe stare in ogni casa dotata di un impianto stereo. Punto.
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