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Mingus Revisited
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Performer Notes
  • This has been reissued as PRE-BIRD.
  • Personnel: Charles Mingus (acoustic bass); Gunther Schuller (conductor); Lorraine Cousins (vocals); Eric Dolphy, Yusef Lateef (saxophone, flute); Booker Ervin, John La Porta, Bill Barron, Jr., Danny Bank, Joe Farrell (saxophone); Marcus Belgrave, Hobart Dotson, Clark Terry, Ted Curson, Richard Williams (trumpet); Slide Hampton, Charles Greenlee, Eddie Bert, Jimmy Knepper (trombone); Don Butterfield (tuba); Robert Di Domenica (flute); Harry Shulman (oboe); Charlie McCracken (cello); Roland Hanna, Paul Bley (piano); Danny Richmond (drums, percussion); George Scott, Sticks Evans (drums).
  • Recorded in New York, New York on May 24 & 25, 1960. Includes liner notes by Leonard Feather.
  • Digitally remastered by Kiyoshi Tokiwa.
  • Released originally in 1960 as PRE-BIRD, then reissued in '65 under its present title, MINGUS REVISITED is an excellent, madcap ride through the multi-faceted, protean world of Mingus. It's all here: the savage, churched-out blues of "Prayer For Passive Resistance," the deconstructed big band aesthetic of "Mingus Fingus #2" and "Bemoanable Lady," and the experiments marrying two separate melodies based on similar harmonic lines, such as the interpolation of "Exactly Like You" in "Take the 'A' Train."
  • Two very distinctive tracks feature the work of vocalist Lorraine Cousins, who performs Mingus' difficult intervals, especially on the atmospheric, unsettling "Weird Nightmare," with impressive skill. The final track, "Half-Mast Inhibition," is a classic Mingus potpourri of classical passages, waltzes, hair-raising solos, shifting dynamics and mounting tension. The musicianship on this album is, as usual, top-flight; Jimmy Knepper, Yusef Lateef and Eric Dolphy crop up among the 22-piece ensemble. MINGUS REVISITED is an all-encompassing look at the diverse fruits of Mingus' brilliance, and merits a place in any adventurous jazz-lover's library.
Professional Reviews
Q (5/97, p.139) - 4 Stars (out of 5) - "...The emphasis is on pieces that feel like compressed symphonies, ideas filling four minutes that would otherwise flesh out much longer works..."
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