4CD Box Set. 72 tracks featuring Miles Davis, Dave Brubeck, Gerry Mulligan, Thelonious Monk, Charlie Parker, Dizzy Gillespie, Chet Baker, Duke Ellington, Oscar Peterson, Claude Thornhill, Nat King Cole, Charles Mingus, Billie Holiday, Ella Fitzgerald, Lester Young, Louis Armstrong, Eartha Kitt, Julie London, Art Pepper and many, many more…

Inspired by a trip to Tijuana, Tijuana Moods was recorded in 1957 but was sat on by RCA until its release in 1962. Bassist/composer Charles Mingus at the time said that this was his greatest recording, and it certainly ranks near the top. The original version, which was usually edited together from a few different takes, consisted of just five performances. It has often been said that Mingus forced and pressured his sidemen to play above their potential, and that is certainly true of this project. Altoist Shafi Hadi (who doubles on tenor) is in blazing form on "Ysabel's Table Dance," while trumpeter Clarence Shaw (who was praised by Mingus for his short lyrical solo on "Flamingo") sounds quite haunting on "Los Mariachis." Trombonist Jimmy Knepper and drummer Dannie Richmond made other great recordings, but they are in particularly superior form throughout this session, as is the obscure pianist Bill Triglia…

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…

Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate accessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um. The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin; trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan; and drummer Dannie Richmond…

Mingus In Argentina: The Buenos Aires Concerts is a never-before-released pair of recordings of legendary bassist Charles Mingus captured live in Buenos Aires, Argentina in June 1977 featuring Ricky Ford (tenor saxophone), Jack Walrath (trumpet), Robert Neloms (piano) and Dannie Richmond (drums). Transferred from the original tape reels the album download and 2-CD set includes an elaborate 36-page booklet featuring rare photos from the concert with liner notes by author and jazz historian Brian Priestley; plus interviews with Ricky Ford and Jack Walrath. This is an official release in cooperation with Jazz Workshop, Inc. and the Charles Mingus Estate.

Mastered directly from the original analog tape to Direct-Stream-Digital. Charles Mingus' 1962 Studio Album Oh Yeah Reissued as Part of the Atlantic Records 75th Anniversary Series on Hybrid Stereo SACD. After several sessions with Columbia and Candid, Charles Mingus briefly returned to Atlantic and cut the freewheeling Oh Yeah, which AllMusic says has to rank as the wildest of all his classic albums. Mingus displays all of his vigorous jazz feeling on this album; he plays no bass whatsoever, hiring Doug Watkins to fill in while he accompanies the group on piano and contributes bluesy vocals to several tracks (while shouting encouragement on nearly all of them).

Mingus is the tenth studio album by Canadian singer-songwriter Joni Mitchell, and a collaboration with composer and jazz musician Charles Mingus. Recorded in the months before his death, it would be Mingus's final musical project; the album is wholly dedicated to him. Mingus was released on June 13, 1979. The album is quite experimental, featuring minimalist jazz, over plucked, buzzing acoustic guitars, and even wolves howling through "The Wolf That Lives In Lindsey". All of the lyrics are by Mitchell, while the music for four of the songs was composed by Mingus, three being new tunes, a fourth being his tribute to saxophonist Lester Young from his 1959 classic Mingus Ah Um, "Goodbye Pork Pie Hat", for which Mitchell wrote a set of lyrics. As with the release preceding, Don Juan's Reckless Daughter, Mitchell hired personnel from jazz fusion group Weather Report, notably bassist Jaco Pastorius to play on the sessions. Mingus would also mark the first reunion of saxophonist Wayne Shorter and pianist Herbie Hancock in the studio since recording together on Shorter's seminal Native Dancer album, featuring Milton Nascimento, released in September 1974.

The Lost Album From Ronnie Scott's is an unreleased live recording of jazz icon Charles Mingus from Ronnie Scott's jazz club in London captured in August 1972. It features alto saxophonist Charles McPherson, tenor saxophonist Bobby Jones, trumpeter Jon Faddis, pianist John Foster, and drummer Roy Brooks.

Blues- and Gospel-Rooted Jazz Brilliance Sparks with Diversity, Personality, and Individualism: Mastered from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies.

Rare Mingus tracks unavailable for decades, reassembled as a stand-alone album The sequel to Incarnations , which charted in the CIMS Top 40 for RSD Black Friday 2023.

Issued in tip-on gatefold jacket. Blue Note Tone Poet Series hype sticker reads: 'Mastered from the original analog tapes, reissue supervised by Joe Harley, mastered by Kevin Gray at Coherent Audio, manufactured at Record Technology Inc. on 180 gram vinyl' Recorded: New York City, Sept. 17, 1962.

Although confined to a wheelchair and less than a year from his death, Charles Mingus supervised the recording sessions that resulted in this LP and its companion Me Myself An Eye. The music on this set utilizes a 27-piece band (including 11 saxophones and four guitars) on the 31-minute "Something Like a Bird" and a smaller 21-piece orchestra (only nine saxes and three guitars) for "Farewell Farwell." It seems that everyone wanted to play with (or at least for) Mingus during his last few years and such musicians as Lee Konitz, Charles McPherson, George Coleman, Mike Brecker, Ricky Ford, Pepper Adams, Randy Brecker, Jack Walrath, Slide Hampton, Jimmy Knepper, Larry Coryell and bassists Eddie Gomez and George Mraz help out on this spirited if overcrowded music.

At the finale of the "Musikfest Berlin" 2022, the musicians of the Deutsche Oper Berlin and their BigBand performed “Epitaph” as a tribute to the 100th birthday of Charles Mingus.
Under the energetic baton of Titus Engel, the musicians of the BigBand and the Orchestra of the Deutsche Oper Berlin and the Jazzinstitut Berlin explore the realms of expression of dark threat, profound songfulness, conflict and ecstasy with irrepressible joy of playing and remarkable clarity. Star trumpeter Randy Brecker lets his wonderfully clear tone soar to the highest heights. It becomes touching when Jorge Puerta sings "Freedom" with a powerful voice and the musicians hum along…

The music Charles Mingus and his group recorded during his landmark 1960 sessions for Candid Records produced three of the most revered jazz albums of the era - INCARNATIONS is a new masterpiece thoughtfully assembled from rare and unreleased material from those sessions that stands proudly in the Mingus canon of masterworks.

“Ornithology: The Best of Bird” is a new collection bringing together 11 cuts from legendary jazz saxophonist Charlie Parker. It covers the legendary artists prime Savoy Records years between 1945 and 1953, with cuts including “Ko-Ko,” “Billie’s Bounce,” and “Groovin’ High”. Featuring Dizzy Gillespie (piano and trumpet), Curley Russell (bass), Max Roach (drums), Miles Davis (trumpet), Bud Powell (piano), Kenny Dorham (trumpet), Charles Mingus (bass) and more!