Then it was a clas-sical workshop where musicians couldexchange ideas and perform their new com-positions. Mingus moved to New York in1951, and, deciding to try the idea in the morespontaneous medium of jazz, by 1953 hadorganized a series of jazz workshop concertsat the Putnam Central Club in Brooklyn.Some of the musicians who participated inthe early days were Max Roach, TheloniousMonk, Horace Silver, Art Blakey, and the audi-ence, who also had a hand in the working outof new compositions and arrangements.
MINGUS AH UM
Producer Teo Macero’s budget approval request, submitted one month beforethe first session. It is interesting to note that he writes “all Jelly Roll Mortoncompositions.” It is conceivable that this was Mingus’s idea at the time.
FOLLOWING ARE THE ORIGINALLPLINER NOTES BYDIANE DORR-DORYNEK: