The Black Saint and the Sinner Lady-- What else can you say? It's utterly thrilling and just overwhelming. I could listen to it every day. Props obviously go to Charlie Mariano, but let's not forget Jerome Richardson's killer soprano work-- his first solo may be the highlight of the record for me. And Dannie Richmond is in fine, fine form too. The apogee of Mingus' conception.
Charles Mingus Presents Charles Mingus-- I have to have a Dolphy record on here, and while he's in searing form on At Antibes and solid on Cornell 1964 and Town Hall Concert, I ultimately choose this one because I love the small group. All four cuts are fantastic, but "Folk Forms" is my favorite. This is one of Mingus' more integrated performances, so I like that about it; he's just part of the quartet and the interplay is superior. Ted Curson and Dolphy make a great reductive front line.
Mingus Ah-Um-- I wish I could put something less obvious in this slot; Pithecantropus Erectus, Blues & Roots or At the Cafe Bohemia/Mingus Quintet would all be fine choices, but I cannot deny how much I enjoy this record, though interestingly enough it took many times through to really come to get it. A truly peerless programme, though, this is. The alto/tenors/trombone frontline makes it truly distinctive and Mingus may have never played better. Booker Ervin is a highlight throughout and John Handy holds his own, but Horace Parlan's solos are always welcome.
What I really, truly enjoy and admire about all of Mingus' work though is the heights to which he pushes his sidemen. There are truly few (or no) boring performances on his classic sides and you can simply feel his direction in everything he did. For me, only Miles can be said to be a better small group leader.