Composed by Charles Mingus Conducted by Paul Jeffrey Arrangements and Orchestrations realised by Jack Walrath, under the supervision of and as dictated by Charles Mingus, in person and through the use of tapes and piano sketches. Recorded 1978 at Atlantic Studios, New York, N.Y. Album: Me, Myself An Eye Full Lineup/Credits: http://www.allmusic.com/album/me-myself-an-eye-mw0000738880/credits Solo Orders: Joe Chambers, Dannie Richmond, Steve Gadd, Jack Walrath, Randy Brecker, George Mraz, George Coleman, Eddie Gomez, Michael Brecker, Larry Coryell, (Rotating Order For Drums) Joe Chambers, Dannie Richmond, Steve Gadd Original Liner Notes by Garry Giddins: When Mingus is inspired, his musicians discover depths in themselves previously unsuspected. It seemed magical when he conducted his whirlwinds from the bass, and seems even more so in the instance of Three Worlds of Drums. Here is a performance that grows from beginning to end, and with each listening. The tempest begins with ominous reeds and heraldic brass, until the first of the three drummers, Joe Chambers, enters with a rumble. His introductory solo is followed by an orchestral figure that recurs throughout the piece. Three notes (recalling Mingus' abiding affection for Flamenco drama) and five faster notes. Dannie Richmond builds his opening solo on that riff, as does Steve Godd, who is soon joined by the other drummers, the Latin percussionists, and the three guitarists. A wall of sound is built, broken by a brief trombone interlude that serves to introduce a terrifically swinging 'Tijuana Moods' melody. The first trumpet solo, by Jack Walroth, is followed immediately by Randy Brecker's played higher, the orchestra threatening to swallow him at one moment. What I find particularly rewarding about this long middle section is that the tension is sustained or passed on from soloist to soloist, from Brecker to George Mraz to George Coleman (invigorating over the slashing cymbals) to Eddie Gomez (his articulation is almost vocal, a la Mingus) to Michael Brecker (bridling and impassioned) to Larry Coryell (the stormmaker). The next section is given to the drummers, soloing, and then trading lightening licks with interjections from the orchestra. Tremendous excitement is achieved as the cycle speeds up, and note that the band's punctuations change every time. The anticlimax includes a Eastern theme bopishly phrased, sky-sized voicings, a touch of latin melodrama, and a final comment from what sounds like piano and whistle. Liner Notes By Stuart Nicholson: 'Me, Myself An Eye' is at once a jubilant yet moving celebration of the music of Charles Mingus. Recorded a year and two weeks before his death on 5 January 1979 the progressively debilitating effects of Lou Fehrig's disease, meant that somewhere between 1977's 'Cumbia & Jazz Fusion' and 'Me Myself an Eye' he had begun to lose mobility, and was now no longer able to play his bass. This was nowhere more poignantly displayed than at the June 1978 concert on the White House lawn when his tears of frustration of being sat in a wheelchair while his music was being played onstage was greeted by a warm hug from President Carter. Now, with bass virtuosos Eddie Gomez and George Mraz subbing for him, his wheelchair may have reduced his role, but his presence was enough to galvanize the 26-strong ensemble assembled for this memorable date. It prompted trumpeter Randy Brecker to observe that Mingus ran the recording session 'with his eyes'. His melodies were so personal and his use of rhythm and harmony so dramatic that his music constituted an idiom. This kind of volatility, which seemed to characterize his life, is captured on 'Me, Myself an Eye.' The album, like 1977's 'Three or Four Shades of Blue' is notable for its use of the electric guitar -- here with Larry Coryell, Ted Dunbar and Jack Wilkins bringing a fresh tone colour to the Mingus ensemble. It shows how his music was never static, taking account of the changing musical landscape around him by importing the sounds associated with rock. 'Three Worlds of Drums' is conducted by Paul Jeffrey, just as he did at the piece's premiere at the 1978 Newport Jazz Festival in Saratoga. According to Walrath, Mingus gave him a Moorish sounding scale on which to base the introduction. The shout chorus is by Mingus and Walrath transcribed the end from a Mingus piano part. Mingus envisioned the piece as a beeboo song, but it was Walrath who changed it to what he called, 'the quasi-Latin-rock-bellydance' rhythm which works well. Walrath supplied the form and the background figures. *All due credit and respect to the original artists and photographers *This video was made for non-profit/educational use

• published: 31 Jan 2013
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