Charles Mingus Music

The late 1950s were the beginning of a very productive time for Charles Mingus. In 1956, he recorded what many (including myself) consider his first masterpiece, "Pithecanthropus Erectus". The following year, he returned ot the studio to record what many consider his second masterpiece, "The Clown". While I'm not inclined to agree with that assessment, its still a rather good album and worthy of attention.

"The Clown" features two pieces that are rightfully amongst the most loved and revered pieces in Mingus' catalog-- the explosive "Haitian Fight Song" and "Reincarnation of a Lovebird". The former, opening with an unaccompanied bass statement features a driving, building theme stated by trombonist Jimmy Knepper and tenorman Shafi Hadi that grabs hold before melting into fantastic solos all around, particularly from Knepper. The latter, a tribute to Charlie Parker, features a fractured, arhythmic intro quoting a number of songs Bird made famous before falling into a cooled out theme.

These two are augmented by the title track, a bizarre piece featuring arhythmic playing interspersed with swinging sections over which Jean Shepherd speaks a partially improvised story about a clown that serves largely as a commentary about the cruelty of the human race. Its interesting, but largely not as essential as "Haitian Fight Song" or 'Lovebird'. The other track on the album, "Blue Cee", is the weak link on the album. A so-so piece, there were better performances on the session (more on that below) that I think would have improved the quality of the album.

"The Clown" is also noteworthy for being the first album to feature drummer Dannie Richmond, who would be Mingus' rhythm section partner for the remainder of his life, and who plays as though he's been working with Mingus for years, even though this was their first recording.

All in all, its a good album, certainly worth having for a couple of the essential tracks-- but I'd recommend the "Deluxe Edition" over this one. Augmented by two further tracks recorded at the same sessions, its a far better release.

This CD includes what is often regarded as the best version of "Haitian Fight Song." This famous Mingus work opens with intensity then slips into a mellow, swinging groove. Then, as in so many Mingus compositions, repeated notes are played over the bass line. Other archetypal elements come in: Mingus's vocalizations, the layering of free form over structure, and several abrupt tempo changes. Outstanding drumming (as always) by Dannie Richmond, and an assertive sax solo by Shafti Hadi (known then as Curtis Porter) intervene, followed by a virtuosic, emotional work by Mingus. With all the different cloths this is cut from, it's a wonder how well they fit together, and it's one of the best in the Mingus canon.

"Blue Cee (7:48)" is a cool, relaxed blues, with Wade Legge's piano dabbling over Mingus' walking bass. Nothing complex here, just a mellow piece with tasty sax work. Although relatively simple, Mingus/ crisp, fresh bass lines are wonderful as background and in solos. These two songs feature superb bass playing, recorded very well.

Mingus says about "Reincarnation of a Love Bird (8:31)": "In one way, this work isn't like him. It's built on long lines and most of his pieces were short lines. But it's my feeling about Bird. I felt like crying when I wrote it." The orchestration is somewhat Ellingtonian and the song veers between the abstract and the cool. Although there's an excellent full and fluid sax solo, and interesting tempos, I felt a minute or two could have been shaved off.

The title piece (12.29) boasts an improvised narration by Jean Sheperd, who strings together somewhat hipster lines in a clean alto-tenor like voice. Sheperd acquits himself nicely, but I would have preferred Mingus' singular, intriguing voice (listen to him on the opening cut of the Town Hall CD). The word/sound mix is sometimes too literal (jokey sound effects), and the sentiment a bit mawkish and forced, but it's a nice break from the usual density. After several listenings, I get tired of the long narration, but there's an absolutely smoking sax/bass break midway through.

The CD bonus tracks are "Tonight at Noon (5:58)" and "Passions of a Woman Loved (9:43)," tracks that omitted from "Oh Yeah" and the original issue of "The Clown." `Passions' features lush piano, a playful "circus-like" motif, fluid sax, and exuberant bass and drumming. It has elements of both "A Foggy Day (in San Francisco)" and, to a lesser extent, "My Jelly Roll Soul." Jimmy Knepper is outstanding on trombone. "Tonight at Noon" has tremendous bowed bass, a fiery sax solo, and a Middle Eastern motif. Not completely new territory, but spicy, intense, and dramatic.

The first two songs are 5+ efforts, and must-haves for Mingus fans. Overall, I think the CD barely misses the status of such works as "Oh Yeah," "Ah Um," "Mingus Dynasty," "Black Saint," and "Mingus at Antibes." (But those are difficult works to compete with!). Nicely packaged, with photos of Mingus, a perceptive essay by Nat Hentoff, and the original liner notes. Probably "essential" for the most avid Mingus fan, and a tremendous listen for everyone.

The Clown is one of Charles Mingus' best albums of his career. Although he does have even better albums, The Clown remains an essential album of Charles Mingus. The album starts out with Hatian Fight Song. This is one of if no the best Mingus compostion. The blending of the instruments and the build up of intensity is done perfectly. This is followed by Blue Cee, which, although not as strong as Hatian Fight Song, keeps the level of greatness on the album. Following this is Reincarnation of A Love Bird. This is also an incredible song and one of Mingus' best. The last song is The Clown. Thi ssong features a long compostion by Mingus and a spoken story over it by Jean Shepard. This is a very different song. It isn't quite as good as the others on the album and once you listen to it once, you probably won't want to listen to it again. It doesn't really hurt the album though. Overall, The Clown is an incredible album and essential to fans of the incredible bass player.

THis album is swingin'! The first track "Haitian Fight Song" (currently being popularized on a TV commercial, the commercial tune being recorded long after Mingus)is an original Mingus composition. Being an absolutely galvanistic tune, it should surely have you boppin' about. Intense. Masterful instrumentalism and arrangement.

The second track, "Blue Cee" is a hard bopping, slighly bluesy song. A nice mellow tune with a quaint bouncy rhythm.

"Reincarnation Of A Lovebird" is a more of a borderline avante guard piece at points, paying tribute to, and playing with little one liners from Charlie Parker classics like "Salt Peanuts."

The title track, "The Clown" is the clever story of a struggling street performer, improvisationally narrated by Jean Shepherd. Pretty entertaining, and some of the best jazz/poetry of it's time.

Strong Mingus album.

"Haitian Fight Song" is my personal sunrise anthem. If I can't quite get outta bed in the morn, I says,"Honey, puts on the galvanizer, doll." That's all it takes. But, if my little lady accidentally puts on the last track, "The Clown," I can't help but lay in bed and laugh. After all, he was a real happy guy. "Reincarnation Of A Lovebird" is ole' Charlie givin' it up to his old buddy, bop style; and "Blue Cee" is a sweet little balladic number. Definately a great Mingus album, not his best, but then again, which is? Not as intense as later period albums, and not so many hard bop influences, as in earlier albums, but pure Mingus. That is how he would have described it. He was a real happy guy. Me too.

The late 1950s were the beginning of a very productive time for Charles Mingus. In 1956, he recorded what many (including myself) consider his first masterpiece, "Pithecanthropus Erectus". The following year, he returned ot the studio to record what many consider his second masterpiece, "The Clown". While I'm not inclined to agree with that assessment, its still a rather good album and worthy of attention.

"The Clown" features two pieces that are rightfully amongst the most loved and revered pieces in Mingus' catalog-- the explosive "Haitian Fight Song" and "Reincarnation of a Lovebird". The former, opening with an unaccompanied bass statement features a driving, building theme stated by trombonist Jimmy Knepper and tenorman Shafi Hadi that grabs hold before melting into fantastic solos all around, particularly from Knepper. The latter, a tribute to Charlie Parker, features a fractured, arhythmic intro quoting a number of songs Bird made famous before falling into a cooled out theme.

These two are augmented by the title track, a bizarre piece featuring arhythmic playing interspersed with swinging sections over which Jean Shepherd speaks a partially improvised story about a clown that serves largely as a commentary about the cruelty of the human race. Its interesting, but largely not as essential as "Haitian Fight Song" or 'Lovebird'. The other track on the album, "Blue Cee", is the weak link on the album. A so-so piece, there were better performances on the session (more on that below) that I think would have improved the quality of the album.

"The Clown" is also noteworthy for being the first album to feature drummer Dannie Richmond, who would be Mingus' rhythm section partner for the remainder of his life, and who plays as though he's been working with Mingus for years, even though this was their first recording.

All in all, its a good album, certainly worth having for a couple of the essential tracks-- but I'd recommend the "Deluxe Edition" over this one. Augmented by two further tracks recorded at the same sessions, its a far better release.

This CD includes what is often regarded as the best version of "Haitian Fight Song." This famous Mingus work opens with intensity then slips into a mellow, swinging groove. Then, as in so many Mingus compositions, repeated notes are played over the bass line. Other archetypal elements come in: Mingus's vocalizations, the layering of free form over structure, and several abrupt tempo changes. Outstanding drumming (as always) by Dannie Richmond, and an assertive sax solo by Shafti Hadi (known then as Curtis Porter) intervene, followed by a virtuosic, emotional work by Mingus. With all the different cloths this is cut from, it's a wonder how well they fit together, and it's one of the best in the Mingus canon.

"Blue Cee (7:48)" is a cool, relaxed blues, with Wade Legge's piano dabbling over Mingus' walking bass. Nothing complex here, just a mellow piece with tasty sax work. Although relatively simple, Mingus/ crisp, fresh bass lines are wonderful as background and in solos. These two songs feature superb bass playing, recorded very well.

Mingus says about "Reincarnation of a Love Bird (8:31)": "In one way, this work isn't like him. It's built on long lines and most of his pieces were short lines. But it's my feeling about Bird. I felt like crying when I wrote it." The orchestration is somewhat Ellingtonian and the song veers between the abstract and the cool. Although there's an excellent full and fluid sax solo, and interesting tempos, I felt a minute or two could have been shaved off.

The title piece (12.29) boasts an improvised narration by Jean Sheperd, who strings together somewhat hipster lines in a clean alto-tenor like voice. Sheperd acquits himself nicely, but I would have preferred Mingus' singular, intriguing voice (listen to him on the opening cut of the Town Hall CD). The word/sound mix is sometimes too literal (jokey sound effects), and the sentiment a bit mawkish and forced, but it's a nice break from the usual density. After several listenings, I get tired of the long narration, but there's an absolutely smoking sax/bass break midway through.

The CD bonus tracks are "Tonight at Noon (5:58)" and "Passions of a Woman Loved (9:43)," tracks that omitted from "Oh Yeah" and the original issue of "The Clown." `Passions' features lush piano, a playful "circus-like" motif, fluid sax, and exuberant bass and drumming. It has elements of both "A Foggy Day (in San Francisco)" and, to a lesser extent, "My Jelly Roll Soul." Jimmy Knepper is outstanding on trombone. "Tonight at Noon" has tremendous bowed bass, a fiery sax solo, and a Middle Eastern motif. Not completely new territory, but spicy, intense, and dramatic.

The first two songs are 5+ efforts, and must-haves for Mingus fans. Overall, I think the CD barely misses the status of such works as "Oh Yeah," "Ah Um," "Mingus Dynasty," "Black Saint," and "Mingus at Antibes." (But those are difficult works to compete with!). Nicely packaged, with photos of Mingus, a perceptive essay by Nat Hentoff, and the original liner notes. Probably "essential" for the most avid Mingus fan, and a tremendous listen for everyone.

The Clown is one of Charles Mingus' best albums of his career. Although he does have even better albums, The Clown remains an essential album of Charles Mingus. The album starts out with Hatian Fight Song. This is one of if no the best Mingus compostion. The blending of the instruments and the build up of intensity is done perfectly. This is followed by Blue Cee, which, although not as strong as Hatian Fight Song, keeps the level of greatness on the album. Following this is Reincarnation of A Love Bird. This is also an incredible song and one of Mingus' best. The last song is The Clown. Thi ssong features a long compostion by Mingus and a spoken story over it by Jean Shepard. This is a very different song. It isn't quite as good as the others on the album and once you listen to it once, you probably won't want to listen to it again. It doesn't really hurt the album though. Overall, The Clown is an incredible album and essential to fans of the incredible bass player.

THis album is swingin'! The first track "Haitian Fight Song" (currently being popularized on a TV commercial, the commercial tune being recorded long after Mingus)is an original Mingus composition. Being an absolutely galvanistic tune, it should surely have you boppin' about. Intense. Masterful instrumentalism and arrangement.

The second track, "Blue Cee" is a hard bopping, slighly bluesy song. A nice mellow tune with a quaint bouncy rhythm.

"Reincarnation Of A Lovebird" is a more of a borderline avante guard piece at points, paying tribute to, and playing with little one liners from Charlie Parker classics like "Salt Peanuts."

The title track, "The Clown" is the clever story of a struggling street performer, improvisationally narrated by Jean Shepherd. Pretty entertaining, and some of the best jazz/poetry of it's time.

Strong Mingus album.

"Haitian Fight Song" is my personal sunrise anthem. If I can't quite get outta bed in the morn, I says,"Honey, puts on the galvanizer, doll." That's all it takes. But, if my little lady accidentally puts on the last track, "The Clown," I can't help but lay in bed and laugh. After all, he was a real happy guy. "Reincarnation Of A Lovebird" is ole' Charlie givin' it up to his old buddy, bop style; and "Blue Cee" is a sweet little balladic number. Definately a great Mingus album, not his best, but then again, which is? Not as intense as later period albums, and not so many hard bop influences, as in earlier albums, but pure Mingus. That is how he would have described it. He was a real happy guy. Me too.

The late 1950s were the beginning of a very productive time for Charles Mingus. In 1956, he recorded what many (including myself) consider his first masterpiece, "Pithecanthropus Erectus". The following year, he returned ot the studio to record what many consider his second masterpiece, "The Clown". While I'm not inclined to agree with that assessment, its still a rather good album and worthy of attention.

"The Clown" features two pieces that are rightfully amongst the most loved and revered pieces in Mingus' catalog-- the explosive "Haitian Fight Song" and "Reincarnation of a Lovebird". The former, opening with an unaccompanied bass statement features a driving, building theme stated by trombonist Jimmy Knepper and tenorman Shafi Hadi that grabs hold before melting into fantastic solos all around, particularly from Knepper. The latter, a tribute to Charlie Parker, features a fractured, arhythmic intro quoting a number of songs Bird made famous before falling into a cooled out theme.

These two are augmented by the title track, a bizarre piece featuring arhythmic playing interspersed with swinging sections over which Jean Shepherd speaks a partially improvised story about a clown that serves largely as a commentary about the cruelty of the human race. Its interesting, but largely not as essential as "Haitian Fight Song" or 'Lovebird'. The other track on the album, "Blue Cee", is the weak link on the album. A so-so piece, there were better performances on the session (more on that below) that I think would have improved the quality of the album.

"The Clown" is also noteworthy for being the first album to feature drummer Dannie Richmond, who would be Mingus' rhythm section partner for the remainder of his life, and who plays as though he's been working with Mingus for years, even though this was their first recording.

All in all, its a good album, certainly worth having for a couple of the essential tracks-- but I'd recommend the "Deluxe Edition" over this one. Augmented by two further tracks recorded at the same sessions, its a far better release.

This CD includes what is often regarded as the best version of "Haitian Fight Song." This famous Mingus work opens with intensity then slips into a mellow, swinging groove. Then, as in so many Mingus compositions, repeated notes are played over the bass line. Other archetypal elements come in: Mingus's vocalizations, the layering of free form over structure, and several abrupt tempo changes. Outstanding drumming (as always) by Dannie Richmond, and an assertive sax solo by Shafti Hadi (known then as Curtis Porter) intervene, followed by a virtuosic, emotional work by Mingus. With all the different cloths this is cut from, it's a wonder how well they fit together, and it's one of the best in the Mingus canon.

"Blue Cee (7:48)" is a cool, relaxed blues, with Wade Legge's piano dabbling over Mingus' walking bass. Nothing complex here, just a mellow piece with tasty sax work. Although relatively simple, Mingus/ crisp, fresh bass lines are wonderful as background and in solos. These two songs feature superb bass playing, recorded very well.

Mingus says about "Reincarnation of a Love Bird (8:31)": "In one way, this work isn't like him. It's built on long lines and most of his pieces were short lines. But it's my feeling about Bird. I felt like crying when I wrote it." The orchestration is somewhat Ellingtonian and the song veers between the abstract and the cool. Although there's an excellent full and fluid sax solo, and interesting tempos, I felt a minute or two could have been shaved off.

The title piece (12.29) boasts an improvised narration by Jean Sheperd, who strings together somewhat hipster lines in a clean alto-tenor like voice. Sheperd acquits himself nicely, but I would have preferred Mingus' singular, intriguing voice (listen to him on the opening cut of the Town Hall CD). The word/sound mix is sometimes too literal (jokey sound effects), and the sentiment a bit mawkish and forced, but it's a nice break from the usual density. After several listenings, I get tired of the long narration, but there's an absolutely smoking sax/bass break midway through.

The CD bonus tracks are "Tonight at Noon (5:58)" and "Passions of a Woman Loved (9:43)," tracks that omitted from "Oh Yeah" and the original issue of "The Clown." `Passions' features lush piano, a playful "circus-like" motif, fluid sax, and exuberant bass and drumming. It has elements of both "A Foggy Day (in San Francisco)" and, to a lesser extent, "My Jelly Roll Soul." Jimmy Knepper is outstanding on trombone. "Tonight at Noon" has tremendous bowed bass, a fiery sax solo, and a Middle Eastern motif. Not completely new territory, but spicy, intense, and dramatic.

The first two songs are 5+ efforts, and must-haves for Mingus fans. Overall, I think the CD barely misses the status of such works as "Oh Yeah," "Ah Um," "Mingus Dynasty," "Black Saint," and "Mingus at Antibes." (But those are difficult works to compete with!). Nicely packaged, with photos of Mingus, a perceptive essay by Nat Hentoff, and the original liner notes. Probably "essential" for the most avid Mingus fan, and a tremendous listen for everyone.

The Clown is one of Charles Mingus' best albums of his career. Although he does have even better albums, The Clown remains an essential album of Charles Mingus. The album starts out with Hatian Fight Song. This is one of if no the best Mingus compostion. The blending of the instruments and the build up of intensity is done perfectly. This is followed by Blue Cee, which, although not as strong as Hatian Fight Song, keeps the level of greatness on the album. Following this is Reincarnation of A Love Bird. This is also an incredible song and one of Mingus' best. The last song is The Clown. Thi ssong features a long compostion by Mingus and a spoken story over it by Jean Shepard. This is a very different song. It isn't quite as good as the others on the album and once you listen to it once, you probably won't want to listen to it again. It doesn't really hurt the album though. Overall, The Clown is an incredible album and essential to fans of the incredible bass player.

THis album is swingin'! The first track "Haitian Fight Song" (currently being popularized on a TV commercial, the commercial tune being recorded long after Mingus)is an original Mingus composition. Being an absolutely galvanistic tune, it should surely have you boppin' about. Intense. Masterful instrumentalism and arrangement.

The second track, "Blue Cee" is a hard bopping, slighly bluesy song. A nice mellow tune with a quaint bouncy rhythm.

"Reincarnation Of A Lovebird" is a more of a borderline avante guard piece at points, paying tribute to, and playing with little one liners from Charlie Parker classics like "Salt Peanuts."

The title track, "The Clown" is the clever story of a struggling street performer, improvisationally narrated by Jean Shepherd. Pretty entertaining, and some of the best jazz/poetry of it's time.

Strong Mingus album.

"Haitian Fight Song" is my personal sunrise anthem. If I can't quite get outta bed in the morn, I says,"Honey, puts on the galvanizer, doll." That's all it takes. But, if my little lady accidentally puts on the last track, "The Clown," I can't help but lay in bed and laugh. After all, he was a real happy guy. "Reincarnation Of A Lovebird" is ole' Charlie givin' it up to his old buddy, bop style; and "Blue Cee" is a sweet little balladic number. Definately a great Mingus album, not his best, but then again, which is? Not as intense as later period albums, and not so many hard bop influences, as in earlier albums, but pure Mingus. That is how he would have described it. He was a real happy guy. Me too.

My first reading of The Clown has just taken place and my opinion is that it is a understated and wonderfully orchestrated piece of musical composition. The cohesion works just fine with the addition of the composition's (Passions Of A Woman Loved) and (Tonight At Noon). This could serve nicly as a score for a film. The typical hard charging grind of the ryhthm section featuring Mr. Mingus on bass and the ever solid drumming of Dannie Richmond is right on time as always. Hadi and Knepper's horn contributions are stuff of genius as well. The interplay between the musicians is fantastic. The narration on (The Clown) by Jean Shepherd weaves itself very nicly within the framework of the composition and appears to be just what Dr. Mingus ordered. Being a jazz drummer and composer myself I can fully appreciate the consentration, dedication, energy and compositional talent that is displayed in this set. I am a die hard Mingus fan and this just adds to his huge catalog of musical treasures for the world to enjoy and appreciate. I enjoy the complete Mingus catalog and this one is a somewhat overlooked gem to be sure. Mingus the poet scores a knock out here folks. Do yourself a huge favor and pick this one up. If you love straight up brilliant jazz and classic composition's of not only jazz but any genre, then you will love this masterpiece. It's a keeper and a true treasure.

The late 1950s were the beginning of a very productive time for Charles Mingus. In 1956, he recorded what many (including myself) consider his first masterpiece, "Pithecanthropus Erectus". The following year, he returned ot the studio to record what many consider his second masterpiece, "The Clown". While I'm not inclined to agree with that assessment, its still a rather good album and worthy of attention.

"The Clown" features two pieces that are rightfully amongst the most loved and revered pieces in Mingus' catalog-- the explosive "Haitian Fight Song" and "Reincarnation of a Lovebird". The former, opening with an unaccompanied bass statement features a driving, building theme stated by trombonist Jimmy Knepper and tenorman Shafi Hadi that grabs hold before melting into fantastic solos all around, particularly from Knepper. The latter, a tribute to Charlie Parker, features a fractured, arhythmic intro quoting a number of songs Bird made famous before falling into a cooled out theme.

These two are augmented by the title track, a bizarre piece featuring arhythmic playing interspersed with swinging sections over which Jean Shepherd speaks a partially improvised story about a clown that serves largely as a commentary about the cruelty of the human race. Its interesting, but largely not as essential as "Haitian Fight Song" or 'Lovebird'. The other track on the album, "Blue Cee", is the weak link on the album. A so-so piece, there were better performances on the session (more on that below) that I think would have improved the quality of the album.

"The Clown" is also noteworthy for being the first album to feature drummer Dannie Richmond, who would be Mingus' rhythm section partner for the remainder of his life, and who plays as though he's been working with Mingus for years, even though this was their first recording.

This deluxe edition augments the recording with two further tracks recorded during these sessions (and originally released along with leftovers from the "Oh Yeah" album on the album "Tonight at Noon"). "Passions of a Woman Loved" is ok, its pretty clear why it was left off the album, its a decent tune, but the reading isn't particularly inspired, and pianist Wade Legge's solo goes nowhere. But "Tonight at Noon", with its racing, breakneck feel, oddball percussion, and fantastic bass playing is essential and as good as anything else on this record.

A good album, particularly when augmented by the extra two tracks. If you're new to Mingus, I'd start with "Mingus Ah Um" (recorded two years later) or "Pithecanthropus Erectus", but for the converted, this is a worthwhile release.

Prior to purchasing The Clown, I'd owned only one other Charles Mingus CD -- Oh Yeah! -- which I'd purchased many years ago. Frankly I was disappointed in Oh Yeah! It was just a little too out there for me and I didn't care for the gospel influence on many of the tracks. But when I heard the sample tracks from The Clown, I decided to give Mingus another try, and boy, am I ever glad that I did.

I'm a big Monk and Brubeck aficionado, and have gotten perhaps a little too comfortable with hearing Charlie Rouse and Paul Desmond's saxophones, so it's delightful to hear on these tracks a full complement of sax, trumpet and trombone, resulting in a fuller sound than a mere quartet can provide.

This reissue includes two tracks that were left off the original LP version -- Passions of a Woman Loved and Tonight at Noon -- both are worthy efforts, although the latter tends to push that envelope from subtle dissonance into outright cacophony.

The original tunes -- Haitian Fight Song, Blue Cee, Reincarnation of a Lovebird and The Clown -- are all wonderful compositions, well-conceived and more than ably performed by the musicians. The title track alone is well worth the price of this edition; at times playful, it transitions smoothly into melancholia, with moments of calamity sprinkled in, as Jean Shepard provides the sad narration. The overall effect reminds the listener of the fine line between comedy and tragedy.

Highly recommended.

First, the good news: This album starts with one of Mingus' greatest longer songs, the propulsive Haitian Fight Song, appropriately rousing with a characteristically long, brilliant bass solo. Blue Cee is good, but a bit too long - the lovely Reincarnation of a Lovebird is more like it, his best ballad with the exception of Goodbye Pork Pie Hat.

Enter the title track.

The Clown itself is a spoken-word piece narrated by Jean Shepherd. And while his A Christmas Story is one of the funniest movies ever made, this is a complete failiure. It's not just that I don't find the story all that great - though I don't - the performances aren't all that interesting eitehr, so if you don't like the narration, too bad. I appreciate Mingus' avant-garde nature, but I'd rather hear that on A Foggy Day (In San Francisco) or Bird Calls.

This is a very underrated album - overshadowed by 'Oh Yeah' and 'AH UM' but equally as inspired and enjoyable to listen to. This Mingus ensemble at times sounds like a whole orchestra - maybe it is just the intensity - especially on 'Hatian Fight Song' - where Mingus really propels the music by his own passion for the theme - which is almost primal. I think this is also some of the best work of Jimmy Knieper I have ever heard. This album and 'Blues and Roots' are my 2 favorite of the Mingus cannon - I urge you to listen to this one and let it take over your conciousness, if only for a moment in your life.