Tonight at Noon: Three of Four Shades of Love marks the 80th anniversary of Charles Mingus' birth and is the seventh recording in a series that pays tribute to his music. The CD features the talents of the Mingus Big Band, a 14-piece rotating ensemble launched in 1991 by the widow of the composer/arranger/bassist, Sue Mingus. The thematic focus of the CD is love and its ten love songs also mark the debut of the Charles Mingus Orchestra, which is featured on four of the songs. The previously unreleased "Love's Fury" features a stellar arrangement by Syl Johnson as well as the very lyrical compositions Charles Mingus never quite received recognition for. Known primarily for his aggressive bebop basslines, these rarely performed compositions are dramatically and beautifully voiced by soloists - trumpeter Randy Brecker and Craig Handy on "Love Is a Dangerous Thing"…

Originally recorded in January 19, 1974, Mingus At Carnegie Hall was released as a 1LP that only featured 2 long tracks ("C Jam Blues" and "Perdido") from the concert; one track per LP side, and features Jon Faddis, Charles McPherson, John Handy, George Adams, Rahsaan Roland Kirk, Hamiet Bluiett, Don Pullen, and Dannie Richmond. Yet the original concert in January of '74 included 2 hours of performances, but nearly 70+ minutes were left on the cutting room floor. With jazz music on the decline in the US in the 1970s, Atlantic Records was probably concerned about releasing a 3LP set at a higher price point that only the most ardent fans would purchase at the time.

Originally recorded for Period Records in 1954, this fairly obscure early Charles Mingus session is a collaboration with composer John LaPorta, who is heard on clarinet and alto saxophone. It's a fascinating effort that shows Mingus' awareness of both modern European classical composition and cool jazz.
The set includes a mix of Mingus and LaPorta originals, plus freshly arranged standards like "What Is This Thing Called Love" and "Stormy Weather." Also on hand are the great trumpeter Thad Jones and saxophonist/producer Teo Macero. The album features Mingus' debut on piano.

Although vibraphonist Red Norvo had been on records for nearly 20 years and had been a pacesetter in both swing and bop, it was when he formed his trio with guitarist Tal Farlow and bassist Charles Mingus in 1950 that he found the perfect setting for his vibes.
The Red Norvo Trio with Tal Farlow and Charles Mingus chronicles his 1950-51 recordings with the innovative guitarist and bass player, and are among the most influential examples of what has come to be known as chamber jazz. When economic conditions made touring with a sextet impossible, Norvo decided to dispense with a rhythm section. In Farlow and Mingus he found players who shared his fascination with sophisticated harmonies, and were able to hang with him at the brisk tempos he favored…

The complete long unavailable concert by Charles Mingus and Eric Dolphy at the Salle Wagram, in Paris, for the first time ever on a single collection. As a bonus, we have added the two complete sets by the Chico Hamilton Quintet with Dolphy at Newport '58, including an extended previously unissued version of "Pottsville U.S.A." on which Dolphy plays a long solo on alto sax.

This two-LP set from 1979 restored solos that were edited out of the two albums Mingus Ah Um and Mingus Dynasty, and includes some newly issued material from those dates…

The great bassist and composer Charles Mingus had his diehard supporters and detractors. His explosive intermingling of devil may care attitude, imposing character and aggressive music was sure to rub some listeners the wrong way and was just as likely to attract adventurous fans. But his genius could not be denied; it just may have taken some time to break down barriers.

This album is unique in Mingus' enormous catalog. As the title indicates, the famous bassist takes to the ivories solo to give life to his dazzling improvisational art. At first it seems odd to hear Mingus without one of his trademark interactive and exploratory ensembles. But the sensibility that he brings to this collection of piano pieces bears all the signs of the composer's genius…

The complex music on this LP finds bassist Charles Mingus looking toward contemporary classical music in some of the rather cool-toned arrangements. It was not until later in 1955 that he found the right combination of influences in which to express himself best but these slightly earlier performances have their moments. Four of the selections feature tenor-saxophonist Teo Macero, pianist Wally Cirillo, drummer Kenny Clarke and Mingus in a quartet while the other five tracks showcase a sextet with Macero, George Barrow on tenor and baritone and clarinetistaltoist John La Porta.

The Clown was Charles Mingus' second masterpiece in a row, upping the already intense emotional commitment of Pithecanthropus Erectus and burning with righteous anger and frustration. With Pithecanthropus, Mingus displayed a gift for airtight, focused arrangements that nonetheless allowed his players great freedom to add to the established mood of each piece. The Clown refines and heightens that gift; instead of just writing heads that provide launch points for solos, Mingus tries to evoke something specific with every piece, and even his most impressionistic forays have a strong storytelling quality.