Pithecanthropus Erectus is a 1956 album by jazz composer and bassist Charles Mingus. Mingus noted that this was the first album where he taught arrangements to his musicians by ear in lieu of writing everything down. [source]
Tracks on Pithecanthropus Erectus: 1. Pithecanthropus Erectus – 10:36 / 2. A Foggy Day - 7:50 (George Gershwin) / 3. Profile of Jackie” – 3:11 / 4. Love Chant – 14:59
Line up: Charles Mingus – Bass / Jackie McLean – Alto Saxophone / J. R. Monterose – Tenor Saxophone / Mal Waldron – Piano / Willie Jones – Drums
From the album Something for Lester by Ray Brown, recorded at Contemporary’s Studio, Los Angeles, California in 1977.
This excellent trio session forms a sort of transition between bassist Ray Brown´s work with the Oscar Trio and his own small-group sessions of the ’80s and ’90s. With pianist Cedar Walton and drummer Elvin Jones, Brown explores seven strong melodies (four standards, two by Walton, and the bassist’s “Slippery”) in typically swinging and bluish fashion. [source]
Ray Brown – Double Bass / Cedar Walton – Piano / Elvin Jones – Drums
Israel Crosby (January 19, 1919 – August 11, 1962) was an African-American jazz double-bassist born in Chicago, Illinois, best known as member of the Ahmad Jamal trio from 1957 to 1962. A close contemporary of Jimmy Blanton, Crosby is less considered as a pioneer, but his interactive playing in Jamal’s trio and that of George Shearing shows how easily and fluently he displayed a modern approach to jazz double bass. He is credited with taking the first recorded bass solo on his 1935 recording of ‘Blues for Israel’ with drummer Gene Krupa (Prestige PR 7644) when he was only 16. He died of a heart attack two months after joining the Shearing Quintet.
From the album Mingus At The Bohemia by Charles Mingus, recorded at Cafe Bohemia, New York City, December 23, 1955.
The songs from “Cafe Bohemia” contain the typical Mingus “Jazz Workshop” characteristics. A concert as work shop meant first of all a live experiment; this is mainly true for his “guest” musician Max Roach in “Percussion Discussion”. Mingus at the Bohemia fixed a moment in time where Mingus found his musical identity.
The above mentioned “Percussion Discussion” is a duet of Mingus and Roach, which was later also used in the Epitaph suite. Just two men playing two instruments that are very rarely found on the stand alone. Two men producing and assortment of rich and exciting sounds. Here is a chance to really enjoy the artistry of Max and Mingus. Notice the clean, true snare sound that Max gets on his highest pitched drum. As he moves from snare drum to tom-tom, there is no doubt that he’s changed intentionally. No muddled indistinct sound here but a real fresh, swinging sound for Max. And he has his earthly qualities too: strong, vigorous, earthy qualities. Mingus is tremendous, matching Max mood for mood. His pizzicato becomes so strong at times that it sounds very close to Max’s percussive effort. Also, for a new concept in jazz sounds, listen to the high, scraping sound Mingus gets on his bass immediately after Max’s cymbal entrance. [source]