Rarebro Records

 

Charlie Mingus - Oh Yeah!

Atlantic Records 1961

U.S.A. Original Pressing : Not A Recent Re-Issue
Strict 100% Guaranteed Goldmine Grading Guide NM/VG+/VG

• Record: VG+ Super High Shine and luster, almost perfect NM, but has a few light whisper scuffs from paper sleeve which DO NOT affect play, HOWEVER THE PRESSING HAS SOME LIGHT CRACKLES (background noise) DUE TO MANUFACTURING, plays fine acceptable copy.
• Cover: VG+ 2" spine split, cover is a little dirty but should clean up nicely.
  

First Pressing ("white fan" Original) from 1961. Super Rare PROMO!!!!!!!- Rarebro Records

Oh Yeah is probably the most offbeat Mingus album ever, and that's what makes it so vital. After several sessions with Columbia and Candid, Charles. Mingus briefly returned to Atlantic and cut the freewheeling Oh Yeah, which has to rank as the wildest of all his classic albums. Mingus plays no bass whatsoever, hiring Doug Watkins to fill in while he accompanies the group on piano and contributes bluesy vocals to several tracks (while shouting encouragement on nearly all of them). Mingus had always had a bizarre sense of humor, as expressed in some of his song titles and arranging devices, but Oh Yeah often gets downright warped. That's partly because Mingus is freed up to vocalize more often, but it's also due to the presence of mad genius Roland Kirk. His chemistry with Mingus is fantastically explosive, which makes sense -- both were encyclopedias of jazz tradition, but given over to oddball modernist experimentation. It's a shame Kirk only spent three months with the band, because his solo interpretations are such symbiotic reflections of Mingus' intent as a composer. Look no further than "Hog Callin' Blues," a stomping "Haitian Fight Song" descendant where Kirk honks and roars the blues like a man possessed. Mingus' vocal selections radiate the same dementia, whether it's the stream-of-consciousness blues couplets on "Devil Woman," the dark-humored modern-day spiritual "Oh Lord Don't Let Them Drop That Atomic Bomb on Me," or the dadaist stride piano bounce of "Eat That Chicken," a nod to Fats Waller's comic novelties. Elsewhere, "Passions of a Man" sounds almost like musique concrète, while "Wham Bam Thank You Ma'am" nicks some Monk angularity and "Ecclusiastics" adds some testifying shouts and a chorale-like theme to Mingus' gospel-jazz hybrid. -AMG This item is from a private jazz collection that spans from the 1950's through the early 1970's. MOST of this collection is in NM condition and marked as promotional copies. The collection is from a vocalist who was involved with theater here in NYC in the 1950's & 1960's.

We believe the records in this collection were obtained through the music business as they are either marked as promotional or are mint first pressings. 1st pressings contain the brightest, clearest, best sound as they were the first to be pressed off the master stamper. These records are in stunning shape and are a highly recommended upgrade even if you already have this title.

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 308 (GS 5.3.7 (308))