Charles Mingus Music

Recently, every discovery of a Mingus date--"At UCLA," "At Cornell," "The Great Charles Mingus Concert"--has produced sales, critical acclaim, wide-spread popular acceptance, in spite of often ragged musical performance (even by Mingus standards) and inferior, distant and distorted audio fidelity. This recording, on the other hand, is admittedly very "leisurely" Mingus, but it reveals his love of melody, of Ellington, and of the authentic tradition of African-American and American popular song art. It's basically an altoist (the commanding, lush-toned, Bird-influenced Charles McPherson) plus rhythm section, but there's never the least doubt about who the leader on the session is.

Pianist John Foster was an obscure, little-recorded musician who deserved far better. Thankfully, he can be heard here, one of his very few recorded appearances. Roy Brooks is, quite simply, one of the outstanding drummers--whether judged as a time-keeper and swinger, a technician (both his brushwork and stick-work were immaculate), or creative spirit (I've never seen any other drummer literally "blow" drums--that's right, with Mingus he would attach hollow tubes to the toms and blow into them to raise and lower the pitch). He was the drummer in Horace Silver's most successful quintet with Blue Mitchell and Junior Cook, but those relatively formulaic, restrictive recordings don't do him justice. To see him live--with Mingus or the Heath brothers--was to appreciate his immense talent. His life came to a sad and pathetic end not long ago, causing many to overlook his immense contributions prior to his final year.

1972 was, I'm quite sure, the year I caught this group at the Brown Shoe in Chicago, supplemented by the trumpet of Jon Faddis and woodwinds of the ill-fated Bobby Jones. That's the group I wish had been more frequently recorded, but in its absence I'll gladly settle for "Live at Chateauvallon."

Five CLASSIC Stars!! These are stunning performances by one of the legendary jazz genius Charles Mingus' greatest quintets, recorded live in Paris in 1964. This is another in the series of European concerts hailing the eminent departure of 'reed master' Eric Dolphy from the group. A superb Clifford Jordan is on tenor sax; a live-wire Dolphy is on alto sax, flute, and a bristling bass clarinet; the world class pianist Jaki Byard is a marvel throughout; with Mingus' virtouso bass and Dannie Richmond's slashing drums rounding out the group. Don't let the fact that these are often-played Mingus classic songs dissuade you, these are absolutely 'jacked-up' different performances from any other, that were meant to be celebrations of not only the 'star-crossed' Mr Dolphy's imminent departure, but Mr Mingus' compositional and group dynamic genius, as well. And they push the Mingus-ian avant garde envelope. Sadly, the jazz world would soon be stunned as the 36 year old Mr Dolphy would suddenly pass away from diabetes complications in Berlin Germany shortly after leaving the group.

The 'Pieces De Resistance', the best of the best, begin with "Peggy's Blue Skylight" which has a sensational Clifford Jordan tenor sax solo. "Fables of Faubus", dedicated to the antics of the stubborn Arkansas governor during the civil rights struggle, is one of the best performances on the CD and begins with a terrific extended bass solo by Mr Mingus that goes in and out of tempo with those patented descending figurations. 'Mingus fingus', indeed. A great declaritive speech-like Dolphy solo is bolstered by background support that surprisingly 'morphs' into a cross between rhythm and quotes from "Tiajuana Moods" and "Group Dancers" briefly. The multi-themed, multi-tempoed "Meditations for Integration" is a stupendous composition, arrangement, and performance that rivals the Mingus Big Band performance at the Monterey Jazz Festival, with Mr Mingus' singing arco bass playing as great as anything played in any musical genre by any bassist. Clifford Jordan and Dolphy solo 'off the chain' with abandon, scoring big, as does Jaki Byard. A MARVELOUS performance by all concerned. Wonderfully recorded, this amazing performance gets my Highest Recommendation. Five HUGE Stars.

(Notes:
* This review is based on an iTunes download. Approximately 71 minutes total.
* There is a 2 CD compilation of this concert, authorized by Sue Mingus, called Revenge!
* Eric Dolphy was elected to the DownBeat Jazz Hall of Fame in 1964 within months of his death, the fastest ever at that time.)

I bought this album because I was a drummer, loved jazz and was touched by Mingus' music. I had already attended two Mingus concerts, in Porto Alegre and in São Paulo. I tried to talke to hom once, but he angrily sent me away.

The last time I listened to this record was some 20 years ago. I let a friend (a bass player) borrow the album, and he never gave it back. In fact, he broke it to pieces. He later told me that the music was so strong, he just could not take it.

One of the things that I most appreciate in Mingus' recordings is that one can feel a compelling drive, it simply is not music to listen carelessly.

Someone already said that the music is angry - I must concord, sometimes it is. But there are examples of beauty - altough not always easy beauty. Listen to the ballads (I love Mingus ballads). But they are sad. Why is slow music so often sad?

And the preaching - oh, the preaching! Take "Wednesday Night Prayer Meeting", for example. Mingus brings this strong quality to music. It is very affirmative. One cannot be indifferent to what is being exposed.

This, combined to a very particular rhythmic quality, is the one thing that, in my opinion, sets Mingus apart from the rest. Mingus groups don't play "clean" and comfortable. Brass attacks are not "quantized" to the beat, but the instrumets rush to the time. It's frankly disconcerting but powerfully moving. Once you get the hang for that, all the rest seems square. Danny Richmond, who played drums with Mingus for many years, must have something to do with that.

Other notable musicians were drummers Steve Gadd and Joe Chambers, who teamed with Danny Richmond and percussionists Sammy Figueroa and Ray Mantilla for the side-long track "Three World of Drums".

The album has another bonus, too. Mingus decided to use guitars - and electronic effects too! Larry Coryell, Ted Dunbar and Jack Wilkins help create "walls of sound" that separate drum and percussion solos.

Winds and brasses complete the "who's who" list of jazz musicians.

I would include links leading to more info, but I reckon it is not allowed.

I was forever moved by Mingus. What I am going to write next is not about this album, but... I was very impressed when I attended a concert by the Mingus Dinasty Orquestra. More so after I discovered that the trombonist had been (years before) punched in the mouth buy Mingus, and spent some time without playing... Well, after Mingus dies, he comes back to play that incredible music! By the way, Mingus did not play in this album. He was on a wheelchair, ill. Bassists were Eddie Gomez and George Mraz. Mingus bands allways sounded as if it was the most important gig of all times.

Music with lots of personality.