Charles Mingus - The Lost Album from Ronnie Scott's / 3CD set

April 2022 releas

Blistering live London date by the bassist-composer’s 1972 sextet, originally intended to be an 'Official Album' release.

Deluxe booklet featuring Interviews with Mingus, Charles McPherson, and Fran Lebowitz, an overview by jazz historian Brian Priestley & appreciations by bassists Christian McBride, Eddie Gomez, and more!.

The live set, comprising nearly two-and-a-half hours of music, was professionally recorded on eight-track tapes via a mobile recording truck on Aug. 14-15, 1972. However, the performance went unreleased, for Mingus – along with every other top jazz musician on the Columbia roster except for Miles Davis – was dropped by the label in the spring of 1973. The present release is completely authorized by Jazz Workshop, Inc., which controls Mingus’ music.

Resonance co-president Zev Feldman, who co-produced the Scott’s material for release with David Weiss, says, “This is a lost chapter in Mingus’s history, originally intended to be an official album release by Mingus that never materialized. Now, we’re thrilled to be able to bring this recording to light for the whole world to hear in all its musical and sonic glory. It’s especially exciting to be celebrating Mingus with this release in his centennial year.”

A statement in the Resonance collection from Jazz Workshop, Inc. says, “In Sue Mingus’s memoir, Tonight at Noon, she recalls receiving the extraordinary tapes [the band] had recorded; the reels remained in the Mingus vault, untouched until now. It is our honor, forty-nine years later, to present, with Resonance Records, this historic performance.”

Charles Mingus Live at Ronnie Scott'sIn his knowledgeable overview of Mingus’s activities of the early ‘70s and his stand at Scott’s club, British jazz critic and historian Brian Priestley, who penned an authoritative 1983 biography of the musician, writes, “The magnificent music contained herein comes from a special period in the life of Charles Mingus, one in which he re-emerged from the depths of depression and inactivity, to be ultimately greeted with far wider acclaim than he had ever previously experienced.”

By the time Mingus’ band took the stage at saxophonist Scott’s celebrated London club, the great jazz man was experiencing a career renaissance: he had received a Guggenheim Foundation fellowship and seen his music adapted for choreographer Alvin Ailey’s The Mingus Dances in 1971, while 1972 saw the release of his potent autobiography Beneath the Underdog and his widely acclaimed big band album Let My Children Hear Music.

Though his group still featured the formidable saxophonists Bobby Jones (tenor) and Charles McPherson (alto), the sextet was in a state of flux, but the new members delivered on stage. Pianist Jaki Byard was succeeded by the relatively unknown John Foster, who showed off both his keyboard and vocal chops at Scott’s. Longtime drummer Danny Richmond, who had joined the pop band Mark-Almond, was replaced by the ingenious, powerful Detroit musician Roy Brooks, who demonstrated his invention the “breath-a-tone,” which allowed him to control the pitch of his kit while playing, and, on a couple of numbers, his abilities on the musical saw. The trumpet chair was filled by the phenomenal 19-year old Jon Faddis, a protégé and acolyte of Dizzy Gillespie.

The Lost Album features nine performances captured during the two-night engagement; some of them – the then-new compositions “Orange Was the Color of Her Dress, Then Silk Blues” and “Mind-readers’ Convention in Milano” and the war horse “Fables of Faubus” – are epics that stretch close to or past the half-hour mark. In its entirety, the set bears comparison to Mingus’ storied concerts at Monterey, Carnegie Hall, and Antibes.