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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. Never too soft. Never too hard.JUST RIGHT.
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. Why. 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. 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. 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. And this (ditto the 1994 reissue of Mingus Dynasty) retains those edits. Anyway, enough about the later reissues. Get this version.
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. They're also varied and interesting enough to warrant many replays. 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.
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. 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.
There are some blues-driven tunes (the famous and somewhat somber "Goodbye Pork Pie Hat"), but most of this stuff SWINGS. 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. 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. 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.
And all of the musicians are in top form. 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. There is a diversity of tempos, although most of the tunes have a traditional fast tempo that is associated with bebop. 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. Take it from me, a late comer. is one of my favorites.
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. 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.
After listening even once, the sweeping influence this recording has rendered is now very apparent to me. It all started when a friend turned me onto some Jazz Messengers recordings and I was hooked.
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. (Go right to "Bird Call" if you need confirmation).
"Boogie Stop Shuffle," whose base melody humorously reminds me of the theme from Spiderman (). Ah Um, while innovative, is still one of the more accessible bebop recordings and is essential if in fact you enjoy the genre.
And that has been a fun discovery.
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