1st Festival Jazz d'Antibes Juan-les-Pins France July 13, 1960 Charlie Mingus - bass Bud Powell - piano Eric Dolphy - Alto Sax Ted Curson - Trumpet Booker Ervin - Tenor Sax Dannie Richmond - Drums
Important to realize that this is Mingus' gig, his arrangement and choice of musicians. His direction and guidance to the players in preparation for this gig are a huge reason it's as great as it is. He was in the pantheon of Great American Composers. Yes, a great bassist, but the bass was just a vehicle and one component of the kaleidoscope of his vast contribution to the entire world of music.
It really is great, but I think it's also just a foreshadowing of the work that Mingus would go on to do with equally talented musicians in later years.
Love how they trade fours for a while, then go into trading twos, then start trading ones, and I could swear they even try exchanging halfs but end up just overlapping each other until finally Ted comes in for a free-for-all!
In response to a prior comment by someone who (mistakenly) judged that Dolphy “doesn’t know the changes”. Dolphy knew his harmony (and the changes here) inside out, and this is what allowed him to navigate tonal centers and tonality in the fluid and groundbreaking manner he did. For those whose ears can’t reveal this, Transcribe the solo and analyze it. Now ready for a surprise: I don’t particularly like Dolphy! But always, always, always remember that one must distinguish one’s subjective preferences and tastes from objective judgements. I’m a Jazz musician and a lifelong student of bebop. Dolphy was never my cup of tea, but his brilliance as an improviser cannot be denied. Dolphy took birds approach to phrasing - (the influence of Parker is unmistakable to any student of Bebop worth their salt!) and mapped it over a truly distinct way of moving in and out of the chord changes. And he did it brilliantly, and in a way that was truly groundbreaking for that era. What is really cool is to listen to very early Dolphy, where the influence of bird is even more apparent. Joseph p Cannavo
I truly appreciate this thoughtful and well-informed comment. My hearing and musical training are insufficient to observe this myself. Articulate musicians are especially helpful to people like me. I play this to listen to Bud; but, I shall make it a point to listen to Eric Dolphy soon. I would like to have an introductory list of his best recordings to help me over the somewhat painful early stages of listening to someone playing over my head.
Tom Wayburn I quite agree but I want to add that he’s indeed my cup of tea and not only that I consider him the true successor of Charlie Parker , one the greatest and humble enough to play second fiddle to Mingus and Trane, in fact I think they owed him a great deal.
@Sterling Pound Translation: "I'm so used to highly produced studio recordings (with retakes dubbed in because the players can't play) that I CAN'T EVEN HEAR great live performance, let alone appreciate it." Maybe go back to your Sting and Phil Collins.
This is so emotional for me. I had the incredible luck to see Dolphy with Mingus, and Dolphy with Coltrane -[that concert being the greatest i ever saw in my life.] but MIngus is my great GIANT of music.
WHAT? Please tell some stories. Dolphy with Mingus is a classic mix, while Coltrane and Dolphy was recorded only rare times. Would love some stories about this happenings. Where, when, how was the atmoshpere, how was the audience, how was the feeling in between? Thanks :)
Bud Powell was truly great...this is a real treat, watching these tremendously talented musicians playing "live". I was 6 yrs. old when this was made...
One of the cool things about Bud here is how he sings out the accents, like a drummer. That's where the main energy is situated. The melodic and harmonic inventiveness overlay the rhythmic breathing.
This video adds several interesting points to the the version released on the "Mingus At Antibes" CD: 1- Bud's last chorus, which includes a Mingus- Richmond interplay, right before Ted Curson' s solo, was edited in the CD. Here we have the complete performance! 2- The audience seems to be having a good time with this advanced music in 1960. Unfortunately, though, even today in 2018 many people still do dot understand these incredible musicians, as can be read in some of the comments below. 3- Eric Dolphy's sandals!!!
Oh wow. I went to the Blue Note (NYC) in the early 80's and Ted Curson used to lead the jam session after the show. I didn't know he played with these guys.
Classic!! Bud takes an amazing extended solo on April. Two crazy geniuses: Bud and Charles. Some fine work from young Ted Curson. And Booker, and Eric of course. Whatta jam!!
This is beautiful. The sounds of Bud, Charles, Danny, and the others are fantastic! Bud has his head tilted back. I watch and listen to this great recording every day.
What I remember Most and Enjoy, is the Dancing in the Audience and the Inimitable Bud Powell, a Musical Icon (Along with Baron Mingus) who were Bebop Pioneers Extrordinarre ☝🏽 and also How Freely Eric Dolphy Jr Bridged the Historical Gap of Jazz Music 🎶 and BEYOND🙏🏾👁️🎷
Calling these licks misses the point. Sure, the likes of Powell and Bird had their devices but they were not “lick players”, they played lines and ideas-and beautiful ones at that.
For a few years I was caretaker for the alto Eric is playing here. It is now in the Musical Instrument Museum in Phoenix Az. Playing that horn was an other worldly experience.
Dolphy and Booker Ervin!!! Izzat Booker Little, trumpet? Danny Richmond, drums? Seeing Bud on the stage with the 'new' guys is like being at the meeting of the minds at evolution time.
Ted Curzon on trumpet, that`s right ! booker ervin on tenor,.. check out :What Love ,..from the same concert, especially the ted curzon solo,... it`s a blast !
Jon Weiss You shit all over Mingus in the comments section of 'Triumph of the Underdog' saying he wasn't a great composer. You said he had written a "few good tunes...nothing revolutionary..." You watch this and all you can say it was "rare" to see Bud & Dolphy together. (A quick check of their respective discographies & session lists indicates it was the only time.) Since you evidently think Mingus was a sideman on the Powell-Dolphy Project I would suggest you run over to Amazon and buy the recording of this entire concert, often called 'Mingus at Antibes', and hear just how revolutionary Mr. Mingus was. All but the standard 'I'll Remember April' are original Mingus compositions though his 'What Love?' is a take on 'What Is This Thing Called Love?' His compositions are as revolutionary as it gets in 1960. Yes, Mingus had some personal demons, a "miserable bastard" as you call him. I guess you also think Charlie Parker was a mediocre horn player and kind of an asshole. - Best Regards
onepissed offcracker Hmm, I seemed to have ruffled a lot of feathers with my comments about Mingus' status as a composer. It reminds me of when I criticized Janis Joplin's version as "Little Girl Blue," a beautiful and delicate song which she totally destroys, both harmonically and as a song (cf. Nina Simone). Someone sent me a list of his better compositions, not frequently played, which I will be glad to check out to rethink the issue. This is what I would call constructive and feedback, which from the moniker you have chosen to represent yourself, I would not expect from you. I am old enough to have seen Mingus live quite a few times, and every time I saw him he was angry, abused his musicians (even the great one) , and usually insulted the audience. Having worked with some abusive bandleaders, I can tell you it is not a pleasant experience and certainly is not conducive to creating the best music. Considering that no one in the film, except his family, has a nice word to say about Mingus personally, as far as I'm concerned his status as a composer who was one of the most abusive assholes of the 20th Cent. can remain undisputed.
Jon Weiss A thoughtful response. I'm glad you were able to see through my attempt at humorous didacticism . I still dispute your opinion of his status as a composer but will not comment as to his rectal qualities. - Yours Sincerely, opoc
Thanks for wonderful upload. This video appears on a dvd with 1964 footage too, so I added to youtube playlst and discography. Search on "mingus dolphy 1964 tour" for more Dolphy-Mingus magic.
Yes this performance is on 'Orange Was the Colour Of Her Dress' but that's not an official DVD.How does the quality of this Antibes performance on that DVD compare to the one I posted? The others posted of this performance on youtube suck.
I have not heard the DVD. Since I can't post a link here in google land, I will copy review by Ken Dryden at allmusic dot com. Eric Dolphy Stockholm 1964/Antibes 1960 Eric Dolphy is a sideman and Charles Mingus the leader in the two performances on this Impro-Jazz DVD, issued in 2007. The three tracks from 1964 are rehearsals by Mingus' sextet, all of which have since been issued in more complete form and better remastering on DVD by Naxos in their acclaimed Jazz Icons series. In any case, all of the music by this group, which also includes trumpeter Johnny Coles, tenor saxophonist Clifford Jordan, pianist Jaki Byard, and drummer Dannie Richmond, makes for compelling listening, even in rehearsal. The major reason to look for this DVD is the presence of Bud Powell as a guest with Mingus and Dolphy at the 1960 Antibes concert, which also features trumpeter Ted Curson, tenor saxophonist Booker Ervin, and Richmond. Powell is in good form for this stage of his career and is quite adventurous in his solo, though it is Dolphy's exciting alto that easily takes top honors for this track. One caveat: at 43 minutes total time, this import has a rather hefty price for a relatively short program.
Man, these guys are burning! Thanks for posting. Also, it's nice seeing photos/videos of a 'younger' Mingus. I've seen way too many shots of him in the 70s...
People put down Dolphy’s playing, but I think they do not understand his innovation. Just as bebop used the upper partials of a chord (like d f and a of a c chord) w their chordal substitutions in their improvisation. Dolphy would after improvise staying in the upper partial, for example improvising on A7 on a C chord. This gave his work a dissonant, bi-tonal quality. He also moved towards free jazz and kind of was a fellow traveler w Ornette Coleman.
Mingus, mi referente cuando comenzaba a tocar a fines de los 50, como es posible que haya idiotas que se pongan a bailar! Grandioso Bud Powel! Ni hablar de E. Dolphy, maravilloso!
Many of us have heard this 1960 recording from "Mingus at Antibes" on Atlantic Records, but I had no idea there was a video. Charles Mingus - bass, piano (on tracks 1 and 6) Ted Curson - trumpet Eric Dolphy - alto saxophone, bass clarinet (on track 3) Booker Ervin - tenor saxophone (except on track 3) Dannie Richmond - drums Bud Powell (track 4 only).
Rather a film than a "video" since the latter term refers to an invention too late to have been of use even in Bud's day! For this film transferred to video one is altogether grateful, Amen!
Senhores, que show ! Uma curiosidade dele é que Bud era de outro selo e nos discos apresenta-se mingus como baixo e piano devido direitos etc .. que show
Felix Scott ~ that's ok .France was a second home to several great black-american exiles, and had been dancing to their music for decades already. If the word 'swing means anything, it surely means 'danceable' n'est ce pas !
Ted Curson used to lead the open jam session at the Blue Note here in New York City way, way, way, back in the day! Wow! Mucho props for him giggin' with ICONS! Holy shit! I didn't know he could do that! I never paid attention to him in those late sessions. except when he had a rock drummer who couldn't get the swing feel "Swing! SWING!". He had to replace that guy. It takes a while.
Caught Ted Curson at several dates around the city after being introduced to his playing on the reissue Candid LP Mingus Presents Mingus in 1973. I also purchased several of his albums released around that time because I really loved his playing on the Mingus album.
