Mingus Ah Um (original) (raw)

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With such major statements as Pithecanthropus Erectus and The Clown behind him, bassist-composer Charles Mingus reached an early career height in 1959 with Mingus Ah Um, his first album for Columbia. It’s not trivial that roughly half of it was recorded on May 5, the same day that John Coltrane waxed roughly half of Giant Steps for Atlantic. Creative fire and intelligence wer... (展开全部) With such major statements as Pithecanthropus Erectus and The Clown behind him, bassist-composer Charles Mingus reached an early career height in 1959 with Mingus Ah Um, his first album for Columbia. It’s not trivial that roughly half of it was recorded on May 5, the same day that John Coltrane waxed roughly half of Giant Steps for Atlantic. Creative fire and intelligence were in the air, and Mingus’ contribution was as bluesy and timelessly melodic as ever, performed by a eight-piece incarnation of his Jazz Workshop. The abstract cover art of S. Neil Fujita (who also designed Dave Brubeck’s Time Out cover) evoked a modernist mindset well-suited to some of Mingus’ most enduring compositions, including the dark, dissonant ballad “Goodbye Pork Pie Hat,” an implied homage to saxophone great Lester Young (with a John Handy tenor solo that Joni Mitchell later set to words on her album Mingus).
With the Young dedication as well as the multilayered “Open Letter to Duke,” the minor-key uptempo swinger “Bird Calls,” and the playful finale “Jelly Roll,” Mingus seemed to be working out his own place in the jazz pantheon. The result was avant-garde in its way, even if not as conceptually radical as Ornette Coleman’s The Shape of Jazz to Come, recorded for Atlantic just two weeks later.
Mingus’ music conveyed a unique sense of abandon—one hears it in his uninhibited vocal hollers at the outset of “Better Git It in Your Soul.” There’s also an overt connection to the freedom struggle of the time, evident in “Fables of Faubus,” one of jazz’s most celebrated protest songs, which was aimed at the governor of Arkansas in the aftermath of Little Rock's school-integration crisis. (Columbia, however, shied away from including Mingus’ scathing lyrics, which can be heard instead on Charles Mingus Presents Charles Mingus from 1960 on Candid, under the title “Original Faubus Fables.”)
Given that he produced Mingus Ah Um and Brubeck’s Time Out (and coproduced Miles Davis’ Kind of Blue as well), Teo Macero’s role in the jazz sound of 1959 can’t be overlooked. The splices he used to shorten six of the nine tracks on Mingus Ah Um were predictive of techniques he’d employ 10 years later (to much different ends) on Davis’ Bitches Brew.

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90/100 后波普做到这个份上登峰造极了，无论是封面还是音乐本身，都证明了Mingus是位彩色的作曲家，听听他是如何操纵音符与背后的色调吧，第一次让我明白Band Leader的重要性。这是公爵精神的一次复兴与改造。

哥伦比亚首版大沙头卖30，嫌贵没买。

明哥最出名的碟，在爵士乐黄金年1959也可以排进前三的历史级大名盘，居然现在才听完，真是惭愧。听完感觉这张能成为大名盘可能是因为它相对明哥的其他作品要显得非常平易近人…？相对而言没那么先锋，没那么混乱、晦涩和暗黑，就算是表达激进政治意识的曲子Fables of Faubus也写的很好听。不过这张确实是明哥作曲的巅峰之一，除了Fables of Faubes，Better Git It in You... 明哥最出名的碟，在爵士乐黄金年1959也可以排进前三的历史级大名盘，居然现在才听完，真是惭愧。听完感觉这张能成为大名盘可能是因为它相对明哥的其他作品要显得非常平易近人…？相对而言没那么先锋，没那么混乱、晦涩和暗黑，就算是表达激进政治意识的曲子Fables of Faubus也写的很好听。不过这张确实是明哥作曲的巅峰之一，除了Fables of Faubes，Better Git It in Your Soul和Goodbye Pork Pie Hat都成了经典曲目。与同时代的其他爵士音乐家相比，明哥的作品确实有更强的整体性和叙事性，一帮不出名的年轻乐手在他的调教下整出了1+1>10的效果，精密编曲与自由即兴的有机平衡，带来的听感是无与伦比的。 (展开)

老迈的好朋友

明哥第一张哥伦比亚录音 也是大名盘

+1/不至于疯狂，但充满了激情和边界探索，很愿意重复听。 @2023-04-17 12:28:55

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Mingus Ah Um的乐评 · · · · · ·( 全部 2 条 )

Yen 2016-01-20 11:47:35

爵士暴君

查理斯‧明格斯，在爵士樂素有＂暴君＂之稱。明格斯於一九二二年在亞利桑那州出生，根據他的自傳，其家族成員有德裔、非裔、英裔、印地安裔、甚至還有中國人。他一開始學的樂器是大提琴，並立志成為一位大提琴演奏家；無奈因家庭的財政狀況、導致他無法進入音樂學院，... (展开)

韋小安 2009-08-20 20:40:34

Goodbye pork pie hat

其实我也没有那么矫情了 那么矫情干嘛…… 上个月走了一个朋友，他是我们一家三代人的朋友 以后过年过节，甚至平日里有事没事 还会有谁来家里坐坐 没有了 我们家人没有多少辉煌的历史 或许暂时处于窘困之中 但是待人都十分友善 所以多年后还视我们为朋友的…… 就只有你 没... (展开)

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