Trio
Records A record label dedicated to fine recordings of acoustic jazz.
Released on Trio Records is the second CD on the label by saxophonist Chris Biscoe "Profiles Of Mingus" celebrating the life of bassist/composer/bandleader Charles Mingus following on from his critically acclaimed “Gone In The Air” (TR578) featuring the music of Eric Dolphy. ‘Profiles of Mingus’ is a musical portrait of Mingus built around some of the many sketches he created of musicians, friends, lovers, politicians, cats and places which were important to him.
Mingus Moves, a sextet founded in 1996, and still including founder members Chris Biscoe, Henry Lowther and Stu Butterfield is at the core of this recording, and appears in various forms as quintet, sextet and septet. In addition there are three performances by an unusual quartet of alto sax, trumpet and two drummers, and four solo improvisations complete the portrait.
The music on "Profiles Of Mingus" has been arranged by Chris Biscoe and includes many of Charles Mingus’s best loved compositions including ‘Fables of Faubus’, ‘Goodbye Pork Pie Hat’, ‘Boogie Stop Shuffle’, ‘Reincarnation of a Lovebird’, ‘Self-Portrait in Three Colors’, ‘Pussy Cat Dues’ and ‘All The Things You Could Be By Now If Sigmund Freud’s Wife Was Your Mother’.
The musicians that make up Mingus Moves have all made their mark on the British and International scene. Chris Biscoe has been featured with Hermeto Pascoal, George Russell, The Brotherhood of Breath, Mike Westbrook and Kenny Wheeler. As well as enlivening fine bands with Jim Mullen (hear The Great Wee Band on Trio Records TR584) and Phil Lee, Stu Butterfield plays with Chris and Larry in “Gone in the Air”. Henry Lowther, a UK jazz legend who has appeared with everyone from Kenny Wheeler, Mike Gibbs and Stan Tracey to Gil Evans and George Russell and leads Still Waters. Trevor Mires is an exciting and original trombonist recently heard with Randy Brecker, Pat Metheny, Gwyllim Simcock and Tim Garland. Pete Hurt partnered Chris Biscoe in the George Russell Living Time Orchestra and Chris’s own band; has also made notable appearances with Carla Bley and Andy Sheppard. Award-winning pianist and composer Kate Williams has made four highly praised CDs under her own name and worked with the cream of UK talent including Bobby Wellins and Stan Sulzmann. Larry Bartley is a much in demand bassist with a lovely sound and melodic sense whose many credits include Courtney Pine, Andy Sheppard, Byron Wallen, Soweto Kinch and Cleveland Watkiss.
Special guests on the CD are the highly individual Paul Clarvis, and the doyen of British bass players, Dave Green. Paul has credits as various as Gordon Beck, Harrison Birtwhistle, Lee Konitz and Mose Allison. He is a member of Blink and plays in the duo Starry Starry Night with Liam Noble. Dave led Fingers, one of the first bands exploring the music of the most remarkable musician to combine the roles of leader, composer and bass player – Charles Mingus.
NEW REVIEW IN THE GUARDIAN FROM JOHN FORDHAM ****
Saxophonist and clarinetist Chris Biscoe has been on the British scene for a long time, but he's made the territory between postbop and free-jazz entirely his own, and his sophisticated tributes to the jazz giants are always distinctive. This varied set offers 10 reappraisals of compositions by Charles Mingus, plus originals by Biscoe, pianist Kate Williams and guest bassist Dave Green (Larry Bartley assumes all the other bass duties). The classic Fables of Faubus unfolds in growls and smears from Biscoe and trumpeter Henry Lowther over the full-on drum tattoos of Stu Butterfield and Paul Clarvis, and Lowther's shining long notes hold the harmonies under the leader's soaring alto sax on the sighing Duke's Choice. Williams has a gleaming solo meditation, and Biscoe an unaccompanied alto feature deploying his arsenal of bent tones, slithering runs and bluesy multiphonics, but through it all he maintains a rootsy quality that fits the set. The album's almost worth it for Boogie Stop Shuffle alone, one of Mingus's most deviously funky themes; but tenor saxophonist Pete Hurt is a powerful presence, and just reading the Mingus title All the Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother has a pretty compelling appeal as well.
FOUR STAR REVIEW FROM KENNY MATHIESON, THE SCOTSMAN:
SAXOPHONIST Chris Biscoe follows his excellent set of Eric Dolphy material with this equally rich look at Charles Mingus. The project harks back to the Mingus Moves sextet of the mid-1990s, a band which included trumpeter Henry Lowther and drummer Stu Butterfield, both of whom feature in the shifting cast of quartet, quintet, sextet and septet combinations here, along with four solo improvisations, including a masterly meditation on Mingus from bass player Dave Green. Several of Mingus's well-known compositions dedicated to fellow musicians and other individuals provide a thematic thread running through the chosen material, from dedications to Ellington and Lester Young through to two takes on his vitriolic attack on Governor Faubus of Arkansas (but minus the chanting). Biscoe's sparkling arrangements and splendid playing vividly capture Mingus's sprawling, rumbustious energy, while giving the music a fresh twist. KENNY MATHIESON
1. Fables of Faubus - Take 3 2:36
2. Duke’s Choice 3:48
3. Boogie Stop Shuffle 6:13
4. Goodbye Pork Pie Hat 5:55
5. PSPPH 2:28
6. J-Yarde 2:26
7. Reincarnation of a Lovebird 10:09
8. Self-Portrait in Three Colors 6:11
9. Martha and Daughter 1:54
10. All The Things You Could Be By Now If Sigmund Freud’s Wife
Was Your Mother 3:12
11. Pussy Cat Dues 7:30
12. Blue Cee 8:10
13. Fables of Faubus - Take 2 2:36
14. Bass Notes 2:04
Total time 65:32
Chris Biscoe alto and tenor sax,
alto clarinet
Henry Lowther trumpet & flugelhorn
Larry Bartley double bass
Stu Butterfield drums
Kate Williams piano
Trevor Mires trombone
Pete Hurt tenor sax
with
Paul Clarvis drums (tracks 1, 10, 13)
Dave Green solo double bass (track 14)
PRICE £11.14 inc. postage and packing sent out immediately by first class post
REVIEWS:
Chris Biscoe established Mingus Moves in 1996, a flexible ensemble (workshop?) with a floating personnel and numbers reflected on this record by different line-ups, ranging from solo - Kate Williams on her own PSPPH, Biscoe on J-Yarde and the alto clarinet feature Martha and Daughter, Dave Green on Bass Notes, these being the non-Mingus tracks - to the double-duo arrangement of A Pair of Braces on the two takes of Fables of Faubus and All The Things to full-band cuts, including one with an overdubbed alto clarinet part from the leader. In movement and feel, this is much closer to an authentic Mingus set than most of the wannabe units that have tackled this material and that's a vital aspect of its success.
Biscoe has been around this material for long enough to be aware that simply playing the head melody and then blowing isn't an adequate approach to Mingus's music. It's a body of work that requires something approaching a paradigm shift from the leader: the composition is more than an armature for the solos, which flesh out the core idea rather than departing expressively from it.That's clear even on Goodbye Pork Pie Hat, the only real repertory piece here, where the two tenors share out solo space that cleaves exactly to the contours of the song.
The saxophonist's respectful but imaginative approach to the material is best represented on Blue Cee (from The Clown) where he takes a very stripped, almost abecedarian line and adds something to it, creating what is in effect a new compositon, but one resolutely dependent on Mingus's own structure. In the same way, Williams's solo piece is a meditation on Goodbye Pork Pie Hat, Biscoe's J-Yarde a boppish prelude to Reincarnation of a Lovebird and Martha and Daughter (Freudians will get the reference) that finds the tender heart of All The Things.
Biscoe's earlier Dolphy project was impressive enough. This, though, and I suspect he recognises the difference himself, is at a higher level of organisation, both in terms of material and musical ambition.It illustrates all the things that modern jazz could have been if Charles Mingus had been recognised as a father figure instead of marginalised as a bad uncle.
Brian Morton, Jazz Journal
First review of Chris Biscoe "Profiles of Mingus"
Like his recent Trio album dedicated to the music of Eric Dolphy
("Gone in the Air"), this
fourteen-track album
inspired by another 20th-century jazz great, Charles Mingus, is clearly
a
labour of love for saxophonist Chris Biscoe. Mingus Moves, a sextet
formed
in 1996, is at the heart of this recording, three of its its founder
members (Biscoe, trumpeter Henry Lowther and drummer Stu Butterfield)
still on board here, but augmented in various combinations by bassist
Larry Bartley, pianist Kate Williams, trombonist Trevor Mires, tenor
player Pete Hurt and guests Paul Clarvis and bassist Dave Green (who
is
heard solely on a solo meditation on Mingus, 'Bass Notes'). Biscoe
says in
his notes that "Mingus Ah Um" is still his favourite
Charles Mingus
album, and accordingly, 'Fables of Faubus', 'Boogie Stop Shuffle',
'Goodbye Pork Pie Hat', 'Pussy Cat Dues', 'Self-Portrait in Three Colors'
and 'Duke's Choice' all appear here, in Biscoe arrangements that he
describes thus: 'Some of the band tracks use arrangements and solo
sequences that are similar to the original performances, although changes
in instrumentation and interpretation make them sound quite different.'
The haunting threnody for Lester Young, 'Goodbye Pork Pie Hat', for
instance, begins with unaccompanied tenors before Bartley's 'improvised
counter-line', then features a 'changes' solo by Pete Hurt and a minor
blues solo by Biscoe; 'Pussy Cat Dues' contains a three-part solo sequence
written by Biscoe; 'Boogie Stop Shuffle' has overdubbed alto clarinet
etc.
More importantly, however, both the Mingus compositions and the odd
Biscoe
original inspired by the great bassist/composer positively drip with
Mingus's great musical strengths: an infectious, often downright brawling
robustness that infuses not only the naggingly memorable themes but
also
spills over into the freewheeling solos to which they give rise; a
faith
in the music's basics (chiefly the blues, but also the sparky, interactive
spontaneity of traditional jazz and rumbustious swing of big-band music)
that grounds even the most sophisticated Mingus composition; the easy,
fluid, natural movement between sharp ensemble work and solo eccentricity.
With its soloists skilfully deployed for maximum effect (the contrast
between the saxophone styles of Biscoe himself and Hurt particularly
telling) and each piece addressed with suitable passion laced with
intelligence and respect, "Profiles of Mingus" comes
highly
recommended.
Chris Parker
The Vortex