CHARLES MINGUS RARE MINT 'MINGUS MOVES'  RANKS W/ THE VERY BEST OF HIS LATE WORK!

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Mingus Moves Review by Thom Jurek

The stars aligned when Charles Mingus recorded Mingus Moves as his return to Atlantic Records in 1973 after a decade with other labels. The great composer and bassist brought with him a new band that included pianist Don Pullen and tenor saxophonist/flutist George Adams (laying the foundation for their stellar quartet in the 1980s). It also marked the return of longtime drummer Dannie Richmond to his group after several years away -- the kit man rejoined Mingus the day before these sessions occurred. Rounding out the quintet was trumpeter and teacher Ronald Hampton, who was playing with Sam Rivers at the same time. Mingus Moves stands with Changes One and Changes Two as the very best of his late work. Even the two session bonus tracks added by producer Joel Dorn at the end of the 20th century underscore this impression. The nine-cut set is populated with focused compositions by Mingus, Pullen, and Adams, with contributions from Doug Hammond and Sy Johnson.

Opener "Canon" is a Latin-tinged modal ballad with a circular melody that hovers between Adams and Hampton amid moody piano, contrasting cumbia and West African rhythms. "Opus 4" is finger-popping hard bop with a fantastically knotty head shared by the horns. Pullen's bright chords and legato fills add flair to Adams' muscular tenor solo. Hammond appears as a vocalist duetting with Honi Gordon on his "Moves," a deeply spiritual cut the band articulates like a sacred hymn. Johnson's "Wee" is a hard-swinging post-bop showcase for the amazing and intuitive dialogue between Adams and Pullen. The tenorist goes deep and wide, following the pianist's ever-expanding harmonic ideas as Mingus and Richmond drive them on. The saxist's "Flowers for a Lady" is a breezy, midtempo groover whose rhythms are centered between Afro-Latin Caribbean and Brazilian sounds with a lovely solo from Hampton. Pullen's "Newcomer" is a conduit for his most intimate tonal inquiries. Adams places first his flute, then his tenor in service to its open, airy, Ellingtonian melody as Hampton joins him in the front line. The original set closer was Mingus' ten-minute "Opus 3," a tough post-bop jam with Hampton holding down the head as Adams pushes every chorus to the breaking point before the rhythm section drives it toward a stomping gospel blues à la "Better Git It in Yo' Soul." Pullen flips it, returning to forceful hard bop in his solo. Mingus and Richmond usher the changes while buoying the soloists. Pullen's "Big Alice" kicks off with a Bo Diddley-esque shuffle, with gospel tropes stitched into the swinging NOLA-styled R&B cadences. Adams, Hampton, and Pullen play soulful vamps together up front and offer tight, celebratory solos as Mingus and Richmond forcefully assert the soaring groove. There isn't a weak moment on Mingus Moves. It is not only a solid entry in the bassist's catalog, but it's an undercelebrated yet necessary encounter with the artist at his late best.

Charles Mingus – Mingus Moves

More images

Tracklist

Companies, etc.

• Recorded At – Atlantic Studios
• Lacquer Cut At – Atlantic Studios
• Pressed By – Presswell
• Manufactured By – Atlantic Recording Corporation
• Published By – Jazz Workshop

Credits

• Art Direction – Bob Defrin
• Bass – Charles Mingus
• Drums – Dannie Richmond
• Flute, Tenor Saxophone – George Adams
• Lacquer Cut By – GP*
• Photography By [Front Cover] – Giuseppe G. Pino*
• Piano – Don Pullen
• Producer – Nesuhi Ertegun
• Recorded By – Gene Paul
• Remix – Ilhan Mimaroglu
• Trumpet – Ronald Hampton

Notes

Barcode and Other Identifiers

• Rights Society: BMI
• Matrix / Runout (Side A Label): ST-A-743071 PR
• Matrix / Runout (Side B Label): ST-A-743072 PR
• Matrix / Runout (Side A Runout): ST-A-743071A AT GP PR
• Matrix / Runout (Side B Runout): ST-A-743072-A PR