Search - Charles Mingus :: Modern Jazz Symposium of Music & Poetry

Deserves More Recognition?One of His Best!

M. Allen Greenbaum | California | 02/28/2003

(5 out of 5 stars)

"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!"