| 1. Peggy's Blue Skylight |
| 2. Fables Of Faubus |
| 3. Caroline Keikki Mingus |
| 4. Slop |
| 5. So Long Eric |
| 6. Farewell Farwell |
| 7. Just For Laughs Pt.1 |
| 8. It Might As Well Be Spring |
| 9. Duke Ellington's Sound Of Love |
| 10. Just For Laughs Pt.2 |
Editorial Reviews
From the Label
Paul Jeffrey's writing for the ensemble generally produces the broad, thick textures which we sometimes associate with the late Todd Dameron. There is for example, a rich and satisfying sound to the band on the opening JUST FOR LAUGHS which exists here more as two separate takes rather than two parts of the same performance. Perhaps the most memorable titles are those on which the tempo stays in the ballad vein and Mingus was moved by the personalities of the persons to whom he dedicated the works. CAROLINE KEKKI MINGUS was for his daughter; the last, as it happened, of a series of musical portraits devoted to ladies related to the composer. FAREWELL FARWELL, also sometimes referred to as FARWELL FAREWELL received this title after Mingus's lifelong friend FARWELL Taylor passed away. And DUKE ELLINGTON'S SOUND OF LOVE needs little or no explanation for Duke always figured large in Mingus's gallery of heroes. Either by design or accident this work interpolates a phrase from LUSH LIFE, a song not written by Ellington but by his colleague Billy Strayhorn. It seems safe to assume that Mingus was aware of the authorship and introduced the fragment deliberately, in order to draw attention to the inseparable nature of the Ellington-Strayhorn partnership for so many years. Of the remaining works FABLES OF FAUBUS is Mingus's last recording of the music he wrote in order to commemorate the actions of Orval E. Faubus, State Governor, who did his best to prevent the integration of the school system in Little Rock, Arkansas, in 1957. This was often performed (and recorded) with a spoken lyric in the course of which Faubus hardly emerged with a great deal of credit. And the staple PEGGY'S BLUE SKYLIGHT and his only recording? of his composition IT MIGHT AS WELL BE SPRING. SLOP has an interesting history for it was composed by Mingus as part of the score for a CBS television ballet presentation. Those familiar with Mingus's music will recognize the obvious references to the earliest work BETTER GIT IT IN YOUR SOUL, a deliberate attempt to satisfy the choreographer's wishes. SO LONG ERIC is a blues dedicated to the late Eric Dolphy. But it was not written as a musical obituary; composed while Dolphy was alive it refers to Eric's desire to leave the Mingus unit and spend some time in Europe. (Ironically Dolphy was to die in Berlin, a fact which hit Mingus hard.)
Product Description
"His Final Work" is the last recording Charlie Mingus ever made. It was recorded in New York City in November of 1977 and features Woody Shaw and Jade Walrath on trumpets, Ricky Ford and Paul Jeffrey on tenor sax, Gerry Mulligan on baritone, Bob Neloms on piano, Lionel Hampton on vibes, Charlie Mingus on bass, Dannie Richmond on drums and Peter Matt on french horn.
His Final Work
Paul Jeffrey's writing for the ensemble generally produces the broad, thick textures which we sometimes associate with the late Todd Dameron. There is for example, a rich and satisfying sound to the band on the opening JUST FOR LAUGHS which exists here more as two separate takes rather than two parts of the same performance. Perhaps the most memorable titles are those on which the tempo stays in the ballad vein and Mingus was moved by the personalities of the persons to whom he dedicated the works. CAROLINE KEKKI MINGUS was for his daughter; the last, as it happened, of a series of musical portraits devoted to ladies related to the composer. FAREWELL FARWELL, also sometimes referred to as FARWELL FAREWELL received this title after Mingus's lifelong friend FARWELL Taylor passed away. And DUKE ELLINGTON'S SOUND OF LOVE needs little or no explanation for Duke always figured large in Mingus's gallery of heroes. Either by design or accident this work interpolates a phrase from LUSH LIFE, a song not written by Ellington but by his colleague Billy Strayhorn. It seems safe to assume that Mingus was aware of the authorship and introduced the fragment deliberately, in order to draw attention to the inseparable nature of the Ellington-Strayhorn partnership for so many years. Of the remaining works FABLES OF FAUBUS is Mingus's last recording of the music he wrote in order to commemorate the actions of Orval E. Faubus, State Governor, who did his best to prevent the integration of the school system in Little Rock, Arkansas, in 1957. This was often performed (and recorded) with a spoken lyric in the course of which Faubus hardly emerged with a great deal of credit. And the staple PEGGY'S BLUE SKYLIGHT and his only recording? of his composition IT MIGHT AS WELL BE SPRING. SLOP has an interesting history for it was composed by Mingus as part of the score for a CBS television ballet presentation. Those familiar with Mingus's music will recognize the obvious references to the earliest work BETTER GIT IT IN YOUR SOUL, a deliberate attempt to satisfy the choreographer's wishes. SO LONG ERIC is a blues dedicated to the late Eric Dolphy. But it was not written as a musical obituary; composed while Dolphy was alive it refers to Eric's desire to leave the Mingus unit and spend some time in Europe. (Ironically Dolphy was to die in Berlin, a fact which hit Mingus hard.)
Product Description
"His Final Work" is the last recording Charlie Mingus ever made. It was recorded in New York City in November of 1977 and features Woody Shaw and Jade Walrath on trumpets, Ricky Ford and Paul Jeffrey on tenor sax, Gerry Mulligan on baritone, Bob Neloms on piano, Lionel Hampton on vibes, Charlie Mingus on bass, Dannie Richmond on drums and Peter Matt on french horn.
His Final Work
His Final Work,Charles Mingus,Who's Who in Jazz,Avant-Garde,Jazz,Pop,Post-Bop
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