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Never too hard.JUST RIGHT. Never too soft. Wow, I listen to everything from NYC Hardcore to Classical. From Electronica to good Ol' Rock N' Roll.This CD is insanely amazing.I am in awe of it's jazzy but blues influenced chilled out vibe.
Anyway, enough about the later reissues. You do not want to make the completist's error of assuming that all modifications of the original "just as it happened in the studio" performance equals "bad" and only the unedited version equals "good." Alas, the producer of the 1998 box set felt entitled to overrule Mingus's intent on 10 of the 19 tracks appearing on "Dynasty" and "Ah Um." There have been a number of reissues of the two Columbia sessions since them, and if you compare the time column info, you'll likely confirm that they likewise have the full unedited versions. I am still an admirer of Michael Cuscuna for the great contributions he has made in reissueing important music in this genre, but no one is immune to error. About the artistry of this music, there's nothing I can add other than a ringing endorsement of the other reviewers' comments.Granted that the digital remastering in the era of this release (1990) leaves A LOT to be desired, this is still the best available CD release. Get this version. Mingus himself edited these tracks by excising the parts of various tracks that contained weak solo material, and trust me, the results are unerringly right. Why. And this (ditto the 1994 reissue of Mingus Dynasty) retains those edits.
However, as good as they are, I don't rate them as highly as some of the other works to which I've given 5 stars. They're also varied and interesting enough to warrant many replays. I'm not a Jazz expert, so I don't feel quite right giving this album 4 stars since it's so highly rated by the experts. I like it, the tracks are light and easy to listen to.
Like almost nothing else in this world, except perhaps Coltrane and the late Beethoven quartets, this is art that both challenges and sustains, that mourns and celebrates, that is fiercely passionate and wildly exuberant, that from the dust and clay of human life reinvents the transcendent.Plus you can dance to it. Essential. By which I mean, not just something that jazz fans ought to own, but that anyone with ears needs to have nearby at all times.
is one of my favorites. After listening even once, the sweeping influence this recording has rendered is now very apparent to me. I am a percussionist at heart, so I love the energy of the faster tempos, the tight harmonics, the horns, and the fact that bebop is acoustic, which gives it lots of purity in my mind, as it requires the musicians to really hone their craft, and last but not least, that it typically swings. In conclusion, I have to say that this is some of the richest bebop I have ever heard - the at times lyrical unison of the horns, the intermittent swinging, and Mingus' driving yet tastefully subdued bass lines that never intrude. I am not a professional reviewer, and I don't want to be redundant given the fine reviews that are already available, so I will share what is hopefully a slightly different perspective with you if you are looking for a reason to pull the trigger and purchase this recording.In years past, I was of the (ignorant) opinion that Mingus's music was not very accessible, because I had heard that from others here and there who were "into jazz." Which brings up a point - when people tell you that, it's always a good idea to get a barometer on what kind of jazz they listen to, as jazz music is the most segmented genre in the world of music.
Ah Um, while innovative, is still one of the more accessible bebop recordings and is essential if in fact you enjoy the genre. There is a diversity of tempos, although most of the tunes have a traditional fast tempo that is associated with bebop. Take it from me, a late comer. And that has been a fun discovery. And the gorgeous balladry of "Self-Portrait in Three Colors" is a tune that I am fairly certain influenced Wynton Marsalis' J Mood recording, as well as compostions from other artists I am sure. Overall, the recording seems to alternate between tempos which is yet another factor that makes it interesting and will bring you back again and again.
As I have grown older (now 47), and having grown up in a household where my Dad played lots of big band jazz and some classical, in my adult life I have centered upon bebop as my favorite genre. There are some blues-driven tunes (the famous and somewhat somber "Goodbye Pork Pie Hat"), but most of this stuff SWINGS. And all of the musicians are in top form. It all started when a friend turned me onto some Jazz Messengers recordings and I was hooked. The playful, bluesy, and sexy horn (clarinet, sax, trombone) work on "Pussy Cat Dues" is not to be missed, and just try to listen to "Jelly Roll" without grinning. "Boogie Stop Shuffle," whose base melody humorously reminds me of the theme from Spiderman ().
Now that I have said that, I will say this: Ah Um is at its minimum, a truly outstanding jazz recording in the bebop genre. (Go right to "Bird Call" if you need confirmation).
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