Recording history and tape provenance
Mingus had played briefly in Ellington's orchestra in 1953, deputising for the regular bassist. He was fired after four days, following a fight with trombonist Juan Tizol.
By Douglas's account the session came together almost by accident. Ellington paid him a surprise visit suggesting a piano-trio record, Douglas suggested Mingus, and Mingus insisted on Roach.
Contemporary accounts describe an argument during the session that led to Mingus walking out with his bass, and Ellington following to bring him back. Accounts differ on whether that happened in the elevator or on the street.
One explanation offered for the friction is the songwriting credits. Every track but one is Ellington's, with "Caravan" co-credited to Tizol, so none of Mingus's own compositions made the record. A planned follow-up with the same trio was reportedly scrapped.
Most of the seven tracks were written for the date, with only "Warm Valley," "Caravan" and "Solitude" drawn from Ellington's existing songbook. Later CD reissues add eight more tracks from the same session.
The piano sound
Reports of a wooly or jangly piano run across effectively every pressing of this title. One detailed Discogs review on the master page puts the complaints down to the original production by Bill Schwartau. On that account they have nothing to do with Kevin Gray or the Tone Poet pressing.
That is a specific technical claim rather than a preference. If the character was baked into the 1962 recording chain, no remastering can remove it.
Some listeners find it a minor distraction from the playing. Others find it an irritant. Either way, a premium modern pressing will not sound meaningfully cleaner on the piano than a good vintage copy.
One owner comparison preferred a 1971 Japanese pressing to a newer reissue bought as an upgrade. That owner found the newer copy traded the tension of the original for a generic clean tone. It also did not address the muted drums they wanted fixed.
Original United Artists pressings (1963)
United Artists UAJS 15017 is the stereo first pressing, on grey labels with black lettering. Plastylite pressed it, leaving the "ear" in the dead wax on both sides. United Artists also issued a mono edition as UAJ 14017.
Since the sound characteristics are largely in the original recording, a clean original gives up little against a modern remaster on this title.
A yellow-label Solid State pressing circulated in the late 1960s as a straightforward repress.
Classic Records reissue
Classic Records issued a 200g audiophile reissue under the original catalogue number, listed as UAJS 15017-200G on the Discogs master. No mastering engineer or year could be confirmed for it here, so it carries no tier.
Blue Note Tone Poet edition (2020)
The Tone Poet edition appeared on April 24, 2020, catalogue B0031461-01. Retailer listings carrying Blue Note's description credit Kevin Gray at Cohearent Audio, working from the original analog stereo master. It was pressed at RTI (Record Technology Inc.) in a Stoughton tip-on gatefold. George Wein wrote new liner notes.
The disc labels read "United Artists Jazz" rather than Blue Note, keeping the original label identity, and the release carries both catalogue numbers.
It is a well-made modern pressing. It does not, and cannot, resolve the piano character this recording has always had.
Buyer's guide by budget
$$: The Jazz Images 180g coloured vinyl reissue, for the bonus tracks, or a Solid State late-1960s repress.
$$$: The Blue Note Tone Poet edition, for the packaging and a careful cut of the stereo master.
$$$$: A clean United Artists UAJS 15017 original, priced on condition.
Pressing tier summary
| Tier ⇅ | Pressing | Cat# | Year ⇅ | Format | Source / Mastering | Notes | Market ⇅ |
|---|---|---|---|---|---|---|---|
| A | Blue Note Tone Poet | B0031461-01 / UAJS 15017 | 2020 | Stereo, 33⅓, 180g | Kevin Gray, Cohearent Audio, from the original analog stereo master. Pressed at RTI | Stoughton tip-on gatefold. Labels read United Artists Jazz | – |
| A | United Artists original | UAJS 15017 | 1963 | Stereo, 33⅓ | Bill Schwartau / United Artists lacquer. Pressed by Plastylite | First pressing. Grey labels, black lettering, "ear" in both runouts | $105VG+ $138NM $154M |
| B | Jazz Images reissue | – | – | Stereo, 33⅓, 180g, coloured vinyl | Not credited | Adds the bonus tracks from the same session | – |
| – | United Artists mono | UAJ 14017 | 1963 | Mono, 33⅓ | United Artists lacquer | Not rated. No published comparison with the stereo | – |
| – | Solid State repress | – | Late 1960s | Stereo, 33⅓ | Not credited | Not rated. Yellow labels | – |
| – | Classic Records 200g | UAJS 15017-200G | – | Stereo, 33⅓, 200g | Not credited | Not rated. No published review found | – |
References
- Discogs (master, all versions): https://www.discogs.com/master/129362
- Wikipedia, "Money Jungle": https://en.wikipedia.org/wiki/Money_Jungle
- Music Direct, "Duke Ellington: Money Jungle, Blue Note Tone Poet Series": https://www.musicdirect.com/vinyl/Duke-Ellington-Money-Jungle-Blue-Note-Tone-Poet-Series-(180g-Vinyl-LP)
- Audiophile Review, "Duke Ellington, Charles Mingus & Max Roach's Money Jungle Tone Poet Vinyl Reissue": https://audiophilereview.com/audiophile-music/duke-ellington-charles-mingus-max-roachs-money-jungle-tone-poet-vinyl-reissue/
- Steve Spins Records, "Duke Ellington Money Jungle Tone Poet Vinyl Review": https://www.youtube.com/watch?v=RBfKjNkEmLU