Uploaded November 2013 | Updated September 2026, 19 hours ago
Charlie Mingus And His 22 Piece Be Bop Band
John Anderson, Buddy Childers, Hobart Dotson, Eddie Preston (trumpet) Jimmy Knepper, Marty Smith, Britt Woodman (trombone) Eric Dolphy (alto saxophone, flute, clarinet) Jewel Grant, Art Pepper (alto saxophone, clarinet) Herb Caro (tenor saxophone, clarinet) William Green (tenor saxophone, clarinet, flute) Gene Porter (baritone saxophone, clarinet) Russ Freeman (piano) Red Callender, Charles Mingus (bass) Roy Porter (drums) Johnny Berger (percussion) and others
Hollywood, CA, spring 1949
(Later re-worked as 'Portrait' on 'The Town Hall Concert.' )
Charlie Mingus And His 22 Piece Be Bop Band
John Anderson, Buddy Childers, Hobart Dotson, Eddie Preston (trumpet) Jimmy Knepper, Marty Smith, Britt Woodman (trombone) Eric Dolphy (alto saxophone, flute, clarinet) Jewel Grant, Art Pepper (alto saxophone, clarinet) Herb Caro (tenor saxophone, clarinet) William Green (tenor saxophone, clarinet, flute) Gene Porter (baritone saxophone, clarinet) Russ Freeman (piano) Red Callender, Charles Mingus (bass) Roy Porter (drums) Johnny Berger (percussion) and others
Hollywood, CA, spring 1949
(Later re-worked as 'Portrait' on 'The Town Hall Concert.' )


![Grachan Moncur III - The Intellect
Grachan Moncur, III—‘The Intellect’
Grachan Moncur, III: trombone
Bobby Hutcherson: vibraphone
Cecil McBee: bass
Beavre Harris: drums (Credited as ‘Bill Harris’)
Performance recorded live at The Village Gate, New York City on March 28, 1965 at a benefit concert for the newly-founded Black Arts Repertory Theatre/School (BART/S), held at the Village Gate under the title ‘New Black Music’, on Sunday Mar 28th 1965. The concert featured performances by the groups of John Coltrane, Albert Ayler, Archie Shepp, and Charles Tolliver. One track per group was included on the original Impulse! Records release, titled ‘The New Wave in Jazz’, with the exception of performances by Sun Ra and Betty Carter. (It’s unclear if Cecil Taylor performed as advertised.) Written by Moncur, ‘The Intellect’ was first released on the Impulse double LP ‘The New Breed: The Dedication Series Vol. VIII: ecil Taylor/Charles Tolliver/Grachan Moncur/Archie Shepp’ (1978), and then included as a bonus track on the 1994 CD reissue, now itself out of print. It represents a significant extension of Moncur’s recorded work, in the wake of his ground-breaking collaborations with Jackie McLean and his own recordings as a leader, ‘Evolution’ and ‘Some Other Stuff’ (the latter of which was developed while Moncur was working in the premiere production of James Baldwin’s play ‘Blues for Mister Charlie’). To my knowledge, no other recordings of this and the other piece performed on the night, ‘Blue Free’, exist; as such, the combined tracks, recorded in impeccable sound, represent almost a lost album. We might see it as representing the ultimate stage of the ‘introverted’ tendency in Moncur’s playing represented, say, by the piece ‘Gnostic’ on ‘Some Other Stuff’: a hidden knowledge found deep inside the self through a press of isolation and contemplation, a defensive retreat into the self that is also a social affirmation of what it takes to survive in tight spaces and what expansive resources can be found there. (Moncur would soon go on to play with Archie Shepp, to co-found the 360 Degree Music Experience with Dave Burrell and Beaver Harris, and to record ‘New Africa’ on BYG records in 1969.)
*Please support musicians like Grachan Moncur III by buying their in-print albums.*
From the original liner notes:
“Grachan Moncur represents, along with Charles Tolliver’s group, the cool aspect of the new generation. The post-milesian cool. The vibist, Bobby Hutcherson, makes this stance thoughtful and challenging, as does, say, a drummer like Tony Williams or bassist Cecil McBee, who can stretch out even further.
These musicians change what is given and hopefully understood. What the normal feeling of adventure is. You think hard-bop to cool soft bop. But there is a persistent will to be original that sheds these labels effortlessly. These are men [...] who show you the music is changing before yr very ears.” (Amiri Baraka)
“[...] The lands of Dada-Surreal a la Harlem, South Philly and dark Georgia nights after sundown, night-time Mau Mau attacks, shadowy figures out of flying saucers and music of the spheres [...] This music, even though it speaks of horrible and frightening things, speaks at the same time so perfectly about the heart and to the heart. This music, at the same time it contains pain and anger and hope, contains a vision of a better world yet beyond the present and is some of the most beautiful ever to come out of men’s soul or out of that form of expression called Jazz.”
(Steve Young (Music-Art Co-ordinator at BART/S)) Grachan Moncur III - The Intellect](https://i.ytimg.com/vi/gt35ob7E_CU/mqdefault.jpg)



![Alan Bush - Relinquishment (1928)
Alan Bush - Relinquishment, Op. 11 (1928)
Alan Bush (piano)
BBC radio broadcast
“The tonality of the piece is A flat mixolydian. The first section is in three-part counterpoint; the lower voice parts introduce notes which contradict the modal basis of the melody. The harmonic idiom is that of West European twentieth century style, but quite free from Schoenbergs repetitive use of thematic material. The middle section is built up from rapid and contrasting rhythmic figures, developed almost exclusively from seconds and fourths. In the coda section a recapitulation of the opening appears above a tonic pedal.
The title is derived from the feeling expressed of deep regret that a particular course of action had to be consciously abandoned.” (Alan Bush)
“Bush started to engage with aspects of modern music from Continental Europe in the late 1920s. [...] this very period was significant for Bush both musically and politically. The year 1928 – in which he composed Relinquishment – was when Bush moved to Berlin and began experiencing what [Luigi] Nono called ‘the historical, cultural and political importance of Berlin in the years before 1933’.
Having already begun working with the LLCU (London Labour Choral Union) in 1926, alongside his fellow English communist composer Rutland Boughton, Bush sought out both radical music and radical politics in Berlin. He attended both the Berlin premiere of Stravinsky’s Oedipus Rex in 1928 and a performance of Brecht and Eisler’s masterpiece of political theatre Die Massnahme. As his fellow student in philosophy, Egbert Hildebrandt, would later attest, such outings ‘were always the occasion of serious discussions on fundamental artistic and aesthetic questions and on problems of world outlook, over which we struggled to come to a clear understanding’. Nor was there an abrupt division of music and politics in Bush’s [...] Radical politics did not supplant modernism for Bush; rather, he discovered them at the same time within a cultural discourse with which modern music and politics were constantly associated.”
(Joanna Bullivant, Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc) Alan Bush - Relinquishment (1928)](https://i.ytimg.com/vi/ilNzBlUUDFI/mqdefault.jpg)



