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Posts Tagged: Bebop

Far Cry is a jazz album by musician Eric Dolphy, originally released in 1961 on New Jazz Records, a subsidiary of the Prestige label. Featuring his quintet work with trumpeter Booker Little, it is the one of the few studio recordings of their partnership. It is also one of the earliest appearances of bassist Ron Carter on record. Dolphy took part in Ornette Coleman’s Free Jazz session before recording this album on the same day.

The entire first side presents a suite to Charlie Parker. “Mrs. Parker of K.C. (Bird’s Mother)” and “Ode to Charlie Parker,” both composed by pianist Jaki Byard, are respectively dedicated to Addie, Charlie Parker’s mother, and a tribute to Parker. “Far Cry,” composed by Dolphy, is also a tribute to Parker (the melody is identical to “Out There”), while “Miss Ann” is a musical portrait of a girl whom Dolphy knew at the time. Pianist Mal Waldron, who would be in Dolphy’s touring band during 1961, composed the tribute to Billie Holiday “Left Alone.” The album also includes two standards among the originals, “Tenderly” and “It’s Magic.” Little only appears on “Miss Ann” during side two, and “Tenderly” is Dolphy unaccompanied on alto saxophone. Listen here the complete album: http://youtu.be/zwKBWukn0nQ

Eric Dolphy – bass clarinet on “Mrs. Parker of K.C.,” “It’s Magic,” and “Serene”; flute on “Ode to Charlie Parker” and “Left Alone”; alto sax all other tracks

Booker Little – trumpet

Jaki Byard – piano

Ron Carter – bass

Roy Haynes – drums

Source: Wikipedia

Mingus Ah Um is a jazz album by Charles Mingus, recorded and released on Columbia Records in 1959. It was his first album recorded for Columbia. The cover features a painting by S. Neil Fujita. The Penguin Guide to Jazz on CD calls this album “an extended tribute to ancestors” (and awards it one of their rare crowns), and Mingus’s musical forebears figure largely throughout. “Better Git It In Your Soul” is inspired by gospel singing and preaching of the sort that Mingus would have heard as a child growing up in Watts, Los Angeles, California, while “Goodbye Pork Pie Hat” is a reference (by way of his favored headgear) to saxophonist Lester Young (who had died shortly before the album was recorded). The origin and nature of “Boogie Stop Shuffle” is self-explanatory: a twelve-bar blues with four themes and a boogie bass backing that passes from stop time to shuffle and back.

“Self-Portrait in Three Colors” was originally written for John Cassavetes’ first film as director, Shadows, but was never used (for budgetary reasons). “Open Letter to Duke” is a tribute to Duke Ellington, and draws on three of Mingus’s earlier pieces (“Nouroog”, “Duke’s Choice”, and “Slippers”). “Jelly Roll” is a reference to jazz pioneer and pianist Jelly Roll Morton; “Bird Calls,” in Mingus’ own words, was not a reference to bebop legend Charlie “Bird” Parker: “It wasn’t supposed to sound like Charlie Parker. It was supposed to sound like birds - the first part.”

Fables of Faubus” is named after Orval E. Faubus (1910–1994), the Governor of Arkansas infamous for his 1957 stand against integration of Little Rock, Arkansas schools in defiance of U.S. Supreme Court rulings (forcing President Eisenhower to send in the National Guard). It is sometimes claimed that Columbia refused to allow the lyrics to be included on this album, though the liner notes to the 1998 reissue of the album state that the piece started life as an instrumental, and only gained the lyrics later (as can be heard on the 1960 release Presents Charles Mingus.) Mingus Ah Um was one of fifty recordings chosen by the Library of Congress to be added to the National Recording Registry in 2003.

Fables of Faubus

 One of Mingus’ most explicitly political works,[2] the song was written as a direct protest against Arkansas governor Orval E. Faubus,[3] who in 1957 sent out the National Guard to prevent the integration of Little Rock Central High School by nine African American teenagers.

The song was first recorded for Mingus’ 1959 album, Mingus Ah Um. Columbia refused to allow the lyrics to the song to be included,[4] and so the song was recorded as an instrumental on the album.[5][6] It was not until October 20, 1960 that the song was recorded with lyrics, for the album Charles Mingus Presents Charles Mingus, which was released on the more independent Candid label.[5] Due to contractual issues with Columbia, the song could not be released as “Fables of Faubus”, and so the Candid version was titled “Original Faubus Fables”.[7] The personnel for the Candid recording were Charles Mingus (bass, vocals), Dannie Richmond (drums, vocals), Eric Dolphy (alto saxophone), and Ted Curson (trumpet). The vocals featured a call-and-response between Mingus and Richmond.[1] Critic Don Heckman commented of the unedited “Original Faubus Fables” in a 1962 review that it was “a classic Negro put-down in which satire becomes a deadly rapier-thrust. Faubus emerges in a glare of ridicule as a mock villain whom no-one really takes seriously. This kind of commentary, brimful of feeling, bitingly direct and harshly satiric, appears far too rarely in jazz.”[8]

The song, either with or without lyrics, was one of the compositions which Mingus returned to most often, both on record and in concert

Fonte: wikipédia.

Source: SoundCloud / USMP & USM Songs