Yet more previously undiscovered recordings from Resonance - there's hope for Buddy Bolden yet! This latest offering is from a 1977 concert by the Charles Mingus Quintet in Buenos Aires.
Needless to say, being Mingus, the music grabbed me from the off. Any band led by the great man has an identifiable sound - often with a tongue-in-cheek arrangement that, as it does here, creeps into the solos by way of outrageous quotes.
Spread over two CDs (or three LPs) it's an enjoyable mix of the old and the new (to me that is) with both horns stretching out, delicate piano from Neloms and virtuoso bass playing by the leader. Has any bassist ever produced such a beautiful tone from his instrument?
Over the years Mingus and Richmond had a stormy relationship ending up with fisticuffs on more than one occasion! Fortunately they're good buddies here.
Goodbye Pork Pie Hat, Mingus' tribute to Lester Young is possibly his best known composition. When asked what he thought of a version of the number that Jeff Beck had recorded Mingus replied "The first thing I thought about was the royalties I would earn, which came to many thousands of dollars."
Duke Ellington's Sound of Love captures the Ellington feeling showing just how close they were musically. Mingus may extend the Ducal dimensions but the core is never far away even when Mingus is at his wildest.
Noddin' Ya Head Blues has unaccompanied Mingus gradually bringing the band in, the volume rising with the advent of the horns. These musicians may have been in the vanguard of jazz but the feeling is pure, well maybe not quite pure, New Orleans but close enough. Powerful piano from Neloms, walkin' the bar tenor and solid bass from 'the boss'.
Three or Four Shades of Blue, an arrangement that somehow captures the Wedding March, Mountains of Mourne, Cheek to Cheek and some wild (and I mean wild!) eastern sounds along the way. Walrath reminds me of that night in 1986 when he took the Corner House by storm.
Koko/Cherokee only lasts 1:16 but it's 76 seconds of bebopic dynamite!
For Harry Carney does what it says on the tin although the connection
with Ellington's legendary baritone saxman is perhaps tenuous. Richmond drives
things along both forcefully and tenderly - always in the moment.
Cumbia & Jazz Fusion at over 22 minutes is the longest track and even then only just manages to squeeze in all that's going on. Suffice to say there's a lot for even the most broadminded listener to absorb. Walrath blowing Mariachi trumpet Argentinian style before fusing it with contemporary NYC hard bop. Ford blows furious, fast and free. Contemplative piano from Neloms, Mingus sings about Shortnin' Bread and other delicacies. Walrath growls and screams, the arrangement becomes dreamy, Mingus sings/shouts again the horns come and go, Mingus has some bass moments. The number goes on so long you wish they'd finish it and when they do you wish they hadn't but that's life isn't it?
The first CD closes with Mingus at the piano for Solo Piano Improvisation.
I should now turn to the second disc but instead I think I'll lie down in a darkened room. Simply magnificent, marvellous, must have Mingus. Lance
For the record disc 2 comprises: Sue's Changes; Koko/Cherokee; Fables of Faubus; Solo Piano Improvisation
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