Charles Mingus Music

A welcome addition to the Mingus CD universe from the Bethlehem vaults, "Modern Jazz Symposium of Music and Poetry with Charles Mingus" is an elaborate title for another fine session from the late 50s. Most tracks are mid-to-up-tempo jams, while some feature characteristic Mingus mood & tempo shifting as well (especially on the interesting track "New York Sketchbook").

The "poetry" referred to in the title is present only on the first track, "Scenes in the City," where a narrator reflects on life in New York, jazz, landlords, women, being broke, etc. while accompanied by Mingus' sweetly lyrical and raucously swingin' music... hey, it works!

This is the best jazz CD I have purchased in quite some time - it is a long lost gem from jazz genius Charles Mingus, recently reissued with stellar sound quality by Bethlehem/Avenue Jazz. Like Chet Baker's Baby Breeze, it is one of those CD's that somehow got lost among the artist's more famous releases, and are thankfully being re-discovered just in the last couple years.

The CD opens with an eloquent jazz opus - Scenes in the City - the perfect song to listen to while riding a NYC subway train. A combination of spoken word vignettes describing New York city life and high energy hard bop, this is a 50's jazz essential - one of those tunes that highlight the best of beatnik culture - free form spoken word and jazz.

The rest of the CD contains no spoken word (the title is a bit misleading), however this is some tight, perfectly executed late 50's jazz. Mingus may have hit his peak a few years before, but he is having fun with this band. The sax playing by Shafi Hadi is vibrant and colorful and the piano flourishes by both Bob Hammer and Horace Panlan are perfectly executed. This is a smokin' band - musicians that are not well known, but obviously working their hearts out for Mr. Mingus.

If you like Charles Mingus and if you enjoy the East coast hard bop sound of the mid to late 50's - you will love this CD. It will not disappoint. If you are a new jazz fan and have heard of Mingus but don't know his music, I also recommend this. This CD is a gem and a worthy reissue of Charles Mingus.

1957 was a prolific year for Charles Mingus: He recorded "The Clown," New Tijuana Moods," "East Coasting" and this, "A Modern Symposium of Music and Poetry" (all following his breakthrough album Pithecanthropus Erectus the year before.) This album features such great Mingus players as Jimmy Knepper (trombone), Shafi Hadi on sax, Bill Hardman and Clarence Shaw on trumpet (with Bill Hardman on "Nouroog"), Horace Parlan on piano (alternating with Bob Hammer), and the indispensable Dannie Richmond banging the drums.

"Scenes in the City" (11 minutes, 49 seconds) is probably Mingus' most successful integration of words and music. Much credit goes to Melvin Stewart's compelling narration: His beautifully spoken words capture the anger, frustration, and release (through jazz) of a man struggling in the city (at times his intonation is similar to the great Denzel Washington). The narration is not as self-conscious and forced as was Jean Shepherd's words and intonation on "The Clown." Although Parlan's piano isn't miked well, Hadi and Shaw blow some great blues-based riffs. This is a textured, vibrant performance that takes chances and succeeds.

"Noourog" has a typically Mingus opening riff, the kind that he would explore and extend for years. It's a spare piece, with Hadi's playing sounding naked against the minimal comping on bass, drums. The tones and themes have an almost Ellington quality to them. "New York Sketchbook" is a more hectic piece, with lots of flavors and colors from all band members. Jimmy Knepper's wonderfully fat trombone lends a lot to the dense texture here, and is a wonderful counterpart to Mingus' bass. It's archetypal Mingus, as he varies tempo, orchestration, straight jazz riffs and weird sound effects, lyricism and dissonance. Yet this wonderful confusion-bursting with spontaneity-always coheres.

Ellington is explicitly recalled on "Duke's Choice," both in the title, and in Horace Parlan's piano. There's a nice brassy sound to Shaw's trumpet against a night-clubby bass and piano. Mingus, as always, is excellent in distilling the essence of the Ellington sound and spirit, and recapturing it with a small group. Jimmy Knepper takes "Slippers" at an astonishing pace; he bops masterfully for 3 and a half minutes, and Hadi takes the last 90 seconds, trading with Knepper and Richmond, and Mingus laying a furious foundation beneath. "Wouldn't You" is similar to "Slippers" although slower. This is an excellent cut to hear Mingus' magnificent bass playing. Parlan's well-recorded solo is sparkling and angular at the same time, and he and Hadi slip in a few musical quotes (most notably from "The Song is You," on which the chord progression seems largely based). Sounds like it was a lot of fun to play. "Wouldn't You" and "Bounce" were previously not released. "Bounce," in particular, is a joy. Its opening seems like a tribute to Basie's big-bodied swinging style and Mingus (listened to that bowed bass towards the end of the cut!) and the band really move in an extremely energetic, fun piece. The closer is an alternative take of "Slippers." I like the first version much more, but it's interesting to compare the two.

I was surprised at the uniformly excellent material here; it's a valuable and immensely enjoyable addition to any jazz collection. It's also an excellent album for those new to Mingus, as it blends recognizable elements of music with the kaleidoscopic invention and exuberance that make him one of the top jazz composers of all. Very highly recommended!