Charles Mingus – Tijuana Moods Plus! (1962/2021) [FLAC 24 bit, 96 kHz]

Charles Mingus - Tijuana Moods Plus! (1962/2021) [FLAC 24 bit, 96 kHz] Download

Artist: Charles Mingus
Album: Tijuana Moods Plus!
Genre: Jazz contemporain
Release Date: 1962/2021
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:15:33
Total Tracks: 11
Total Size: 1,36 GB


1-1. Charles Mingus – Dizzy Moods (Remastered) (05:53)
1-2. Charles Mingus – Ysabel’s Table Dance (Remastered) (10:28)
1-3. Charles Mingus – Tijuana Gift Shop (Remastered) (03:49)
1-4. Charles Mingus – Los Mariachis (Remastered) (10:22)
1-5. Charles Mingus – Flamingo (Remastered) (05:34)
1-6. Charles Mingus – A Colloquial Dream (Remastered) (11:52)
1-7. Charles Mingus – New York Sketchbook (Remastered) (08:51)
1-8. Charles Mingus – Duke’s Choice (Remastered) (06:25)
1-9. Charles Mingus – Nouroog (Remastered) (04:50)
1-10. Charles Mingus – Slippers (Remastered) (03:30)
1-11. Charles Mingus – Slippers (Alternative Take) (Remastered) (03:54)


This Charles Mingus album, recorded in 1957 although not released until 1962, was inspired by the man’s visit to the titular Mexican town and the music is redolent of ‘latin influence’ both in name and sound. Of course, Mingus was one of the most expansive and progressive composers ever in jazz and here the man’s development process towards extensive, almost classical, ensemble pieces is in evidence particularly on the extended numbers, Ysabel’s Table Dance and Los Mariachis, in effect tracing a path between the previous year’s ground-breaking ‘orchestral piece’, Pithecanthropus Erectus, and the later (and, arguably, Mingus’ career highpoint) 11-piece, seamless single composition that was The Black Saint And The Sinner Lady.In fact, (newly turned) drummer Dannie Richmond was the only member of Tijuana Moods’ sextet that Mingus would take forward to Black Saint, but the sextet’s playing here (at times) seems to simulate a much larger ensemble with its improvisational, almost organic, playing. Mingus particularly championed trumpeter Clarence Eugene Shaw’s playing here and it is particularly sublime on the only non-Mingus composition, the Ellington-staple (sounding rather ‘Blue In Green-like’) Flamingo. Indeed, Shaw excels again on opener Dizzy Moods and again, in ensemble mode with Shafi Hadi’s tenor sax and Jimmy Knepper’s trombone on the perfectly formed Tijuana Gift Shop. But, it is really on the two aforementioned extended numbers where Mingus’ group push the boundaries of rhythm and group dynamics – it is also possible to detect hints of Gil Evans-like arrangement here (who was to arrange Miles Ahead in the same year).

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