In response to critical carping that his ambitious, evocative music somehow didn't swing enough, Charles Mingus returned to the earthiest and earliest sources of black musical expression, namely the blues, gospel, and old-time New Orleans jazz. The resulting LP, Blues and Roots, isn't quite as wildly eclectic as usual, but it ranks as arguably Mingus' most joyously swinging outing. Working with simple forms, Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be ...
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In response to critical carping that his ambitious, evocative music somehow didn't swing enough, Charles Mingus returned to the earthiest and earliest sources of black musical expression, namely the blues, gospel, and old-time New Orleans jazz. The resulting LP, Blues and Roots, isn't quite as wildly eclectic as usual, but it ranks as arguably Mingus' most joyously swinging outing. Working with simple forms, Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously -- somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor. Anyone who had heard "Haitian Fight Song" shouldn't have been surprised that such an album was well within Mingus' range, but jazz's self-appointed guardians have long greeted innovation with reactionary distaste. After Blues and Roots, there could be no question of Mingus' firm grounding in the basics, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based -- like the groundbreaking classic "Wednesday Night Prayer Meeting" -- or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned "Wednesday Night Prayer Meeting" and the Jelly Roll Morton tribute "My Jelly Roll Soul." The recording session was reportedly very disorganized, but perhaps that actually helped give the performances the proper feel, since they wound up so loose and free-swinging. With a lineup including John Handy and Jackie McLean on alto, Booker Ervin on tenor, frequent anchor Pepper Adams on baritone, and Jimmy Knepper and Willie Dennis on trombones, among others, Blues and Roots isn't hurting for fiery soloists, and they help make the album perhaps the most soulful in Mingus' discography. ~ Steve Huey, Rovi
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Add this copy of Blues & Roots to cart. $3.39, very good condition, Sold by Goodwill rated 5.0 out of 5 stars, ships from Brooklyn Park, MN, UNITED STATES, published 1987 by Atlantic.
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Add this copy of Blues & Roots to cart. $6.99, very good condition, Sold by HPB-Diamond rated 4.0 out of 5 stars, ships from Dallas, TX, UNITED STATES, published 1987 by Atlantic.
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Add this copy of Blues & Roots to cart. $9.95, like new condition, Sold by George Lyon rated 5.0 out of 5 stars, ships from Alexandria, VA, UNITED STATES, published 1990 by Atlantic.
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Very good in very good packaging. Originally released: 1959. BOX #111012CDVD. This sale is for (set of 1 discs ) Used/Pre-owned MUSIC DISCS. This discs has no visible Scratches) This CD Case top cover or cover tab or CD s Holding tab is (not broken). This case is not Missing face Page or has marker marks Apply Only Disc s. All old library s pre-owned items have marker marks, tape residue, face page cuts, and name erased. I ve checked every item and I will sign it before I mail it to you. Please read this Note. NO RETURNS: ON: DVD s AUDIO CASSETTES, AUDIO CD s and VHS TAPES.
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Add this copy of Blues & Roots to cart. $24.17, new condition, Sold by Importcds rated 4.0 out of 5 stars, ships from Sunrise, FL, UNITED STATES, published 2011.