In the late 1950s, hard bop, too, was looking for a way out. The cycle of avant-gardes inexorably craves novelty. On both sides of the Atlantic, much was being deconstructed in the late 1950s, in philosophy, painting, and music. Everything that seemed established, sound, and normal had to be viewed with the most scrupulous skepticism. 1959 was a pivotal year, and Charles Mingus largely contributed to it with his album Ah Um. The succession of pivotal years in art history always has an artificial aspect and at the same time reveals a state of art that always defines a new aesthetic. 1913… 1922… 1959… The Shape of Jazz to Come, Kind of Blue, Time Out, Ah Um… When creative minds have decoded the structures of current art, it’s time to discover new ones. Charles Mingus belongs to the category of deconstructors, creators, and inventors who pave the way for future artists. The works gathered in this album are testaments to his creative capacity and his extraordinary scope; they are the link between hard bop and the jazz of the 1960s. A jazz beyond norms, commensurate with his temperament.
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