Charles Mingus – The Lost Album From Ronnie Scott's
Label: |
Jazz Workshop – HLP-9063 |
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Format: |
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Country: |
USA, Canada & UK |
Released: |
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Genre: |
Jazz |
Style: |
Avant-garde Jazz |
Tracklist
| A1 | Introduction | 1:01 | |
| A2 | Orange Was The Color Of Her Dress, Then Silk Blues (Part 1) | 25:18 | |
| B1 | Orange Was The Color Of Her Dress, Then Silk Blues (Part 2) | 5:26 | |
| B2 | Noddin’ Ya Head Blues | 19:52 | |
| C1 | Mind-Readers' Convention In Milano (AKA Number 29) | 29:57 | |
| C2 | Ko Ko (Theme) | 0:45 | |
| D | Fables Of Faubus (Part 1) | 21:52 | |
| E1 | Fables Of Faubus (Part 2) | 13:10 | |
| E2 | Pops (AKA When The Saints Go Marching In) | 7:17 | |
| F1 | The Man Who Never Sleeps | 18:51 | |
| F2 | Air Mail Special | 2:02 |
Companies, etc.
- Record Company – Rising Jazz Stars, Inc.
- Phonographic Copyright ℗ – Jazz Workshop, Inc.
- Copyright © – Resonance Records
- Manufactured By – Resonance Records
- Recorded At – Ronnie Scott's
- Mastered At – Bernie Grundman Mastering
- Lacquer Cut At – Bernie Grundman Mastering
- Pressed By – Record Technology Incorporated – 38524
- Pressed By – Record Technology Incorporated – 38628
- Published By – Flying Red Rhino
- Published By – Adams Avenue
- Published By – Jazz Workshop, Inc.
- Published By – The Mingus Music Werkshop
- Published By – Atlantic Music Corp.
- Published By – Louis Armstrong Music Publishing Co. Inc.
- Published By – Ragbag Music Pub. Corp.
- Published By – Rytvoc, Inc.
- Published By – Regent Music Corp.
- Licensed From – Rising Jazz Stars, Inc.
Credits
- Alto Saxophone – Charles Mherson
- Art Direction – Burton Yount
- Bass – Charles Mingus
- Cover [Back Cover Photography By], Cover [Front Cover Photography By] – Jan Persson (4)
- Drums, Saw [Musical Saw] – Roy Brooks
- Editor [Album Package] – John Koenig
- Executive-Producer – George Klabin
- Graphics [Production] – John Sellards
- Lacquer Cut By – BG*
- Legal – John Koenig
- Liner Notes [Essay By] – Brian Priestley
- Mastered By – Bernie Grundman
- Photography By – Jean-Pierre Leloir
- Photography By [Jazz Workshop, Inc. Photos] – Sue Mingus
- Piano – John Foster (16)
- Producer [Associate Producer] – Zak Shelby-Szyszko
- Producer [Produced For Release By] – Zev Feldman
- Production Manager – Zak Shelby-Szyszko
- Project Manager [Assistance] – James Batsford
- Research [Photo] – Zev Feldman
- Restoration [Sound Restoration By] – George Klabin
- Tenor Saxophone, Clarinet – Bobby Jones (2)
- Trumpet – Jon Faddis
Notes
Record Store Day exclusive release, part of the April 23rd drops. Limited to 5,000 copies on 180 gram vinyl.
Differs from The Lost Album From Ronnie Scott's - country of release.
Differs from The Lost Album From Ronnie Scott's - country of release.
Barcode and Other Identifiers
- Barcode (Text): 6 17270 12285 3
- Barcode (Scanned, UPC-A): 617270122853
- Rights Society: BMI
- Rights Society: ASCAP
- Matrix / Runout (Runout side A): HLP-9063-A 38524.1 (3)... BG
- Matrix / Runout (Runout side B): HLP-9063-B 38524.2(3)... BG
- Matrix / Runout (Runout side C): HLP-9063-C BG 38524.3(3)...
- Matrix / Runout (Runout side D): HLP-9063-D 38524.4(3)... BG
- Matrix / Runout (Runout side E): HLP-9063-E 38628.5(3)... BG
- Matrix / Runout (Runout side F): HLP-9063-F 38628.6(3)... BG
Other Versions (3)
View All| Title (Format) | Label | Cat# | Country | Year | |||
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Recently Edited
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The Lost Album From Ronnie Scott's (3×CD, Album, Deluxe Edition) | Jazz Workshop | HCD-2063 | USA & Europe | 2022 | ||
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Recently Edited
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The Lost Album From Ronnie Scott's (3×LP, Album, Limited Edition, Numbered) | Jazz Workshop | HLP-9063, KKJ 10011 | Japan | 2022 | ||
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New Submission
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The Lost Album From Ronnie Scott's (9×File, WAV, Album) | Jazz Workshop | none | Worldwide | 2022 |
Recommendations
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2022 WorldwideVinyl —LP, Album, Record Store Day, Deluxe Edition, Limited Edition, Numbered, Mono -
2022 WorldwideVinyl —LP, Album, Record Store Day, Deluxe Edition, Limited Edition, Numbered, Remastered -
2022 WorldwideVinyl —LP, Album, Record Store Day, Reissue, Mono -
2021 WorldwideVinyl —LP, Album, Reissue, Stereo -
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Reviews
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My copy came with two third discs (E&F) and no A&B disc. If anyone needed up with two of A&B and no E&F let’s swap.
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Overall, after a first run through, it sounds pretty damn good to me. Recording, mastering, and pressing is phenomenal. Side A sounded a tad chaotic until Noddin Ya Head Blues, but was hooked from there on in. What an adventure. Glad I managed to obtain a copy. Took a while for my record store to get them in.
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There is no record store in my city but I was lucky enough to buy a copy here for basically the RSD list price. It's a beautiful collection. My copy is also dead quiet and beautifully mastered. It sounds great on my modest system. Couple of pops at the beginning of side 2 but nothing distracting and a deep cleaning will probably resolve that. -
Just beautiful and original. Feels like I’m sitting right there at Ronnie Scott’s as Mingus plucks away. Wonderful job all around. If you scored this at regular price, in my opinion it is a steal. 3 dead silent, flat, beautifully mastered 180g vinyl records. Not to mention a really nice gatefold to go with it. If you’re a die hard Mingus fan, I don’t think you’d be disappointed even if you paid $200 for it. With that said, I’m sure we’ll se some sort of repress in the future. -
I too am thankful to have this brilliantly recorded and mastered recording. The pressing is dead quiet and clean. I have loved Charles Mingus since I saw him live in 1974 at SMU in Dallas.
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Edited 3 years agoOccasional pops and clicks on-and-off throughout, usually at the start of a side, even after cleaning. The audio sounds very nice. But the pressing could be better. Similar experience with the Bill Evans titles on this label. -
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“Good” record/recording/packaging/story/piece of history? Yes, absolutely.
But…I fail to find much “captivating”/ “involving” in the performance as a listener. I’m an extremely patient and open minded person…after the 1st disc I have zero motivation to keep listening. 60 minutes should be enough time to get into a record. I do mean 60 minutes with no phone, no distractions, just focus on the music.
I felt that every time the band started going somewhere that interesting solos could happen inevitably it would all come crashing to a halt and start over.
Cool that it’s seen the light of day, but outside of an RSD hype fest, NPR story and media campaign would people be so willing to shell out the $80-90 retail? Had I heard the music first, my answer would probably be “Not many” and certainly “Not me”
Not knocking on you if you love this performance, RSD, or just love Mingus in general. Everyone’s on a different part of the journey.
For those that have spent some time with this release, what about it made you say “Wow!”? Not trying to be contrarian here, just looking for insight. -
All I can say is: I'm relieved that I have no regrets about sitting outside of a record store overnight on the night of this man's 100th birthday to make sure I got a copy of this warmly recorded and mastered release.
Feels like Bernie Grundman is in the midst of taking the most well deserved victory tour in the history of record pressing, and working on a historical document like this must have been a real treat for he and RTI. Bravo.
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