CHARLES MINGUS Oh Yeah LP ATLANTIC 1962 ITA reissue ATL-LP 09082 ROLAND KIRK
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Description
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MINGUS
with ROLAND KIRK, BOOKER ERVIN, JIMMY KNEPPER, DOUG WATKINS, DANNIE RICHMOND
Bassist, composer, arranger, and bandleader Charles Mingus cut himself a uniquely iconoclastic path through jazz in the middle of the 20th century, creating a musical and cultural legacy that became universally lauded. As an instrumentalist he had few peers -- he was blessed with a powerful tone and pulsating sense of rhythm, capable of elevating the instrument into the frontline of a band. Intensely ambitious yet often earthy in expression, simultaneously politically radical and deeply traditional spiritually, Mingus' music took elements from everything he had experienced -- from gospel and blues, New Orleans jazz, swing, bop, Latin music, modern classical music, and even the jazz avant-garde, and adapted it for ensembles ranging from trios and quartets to sextets and orchestras. His touchstone was the advanced harmonic and timbral swing palette pioneered by Duke Ellington. Mingus took the maestro's harmonic innovations to a different sphere, grafting on gutbucket blues, abrasive dissonances, and introducing abrupt changes in meter and rhythm.
"OH YEAH"
<reissue, originally published in 1962>
LP ATLANTIC RECORDS ATL-LP 09082
MADE IN ITALY 1968 REPRESSING
FULLY LAMINATED SINGLE COVER
Barcode and Other Identifiers
Barcode: none
LABEL: ATLANTIC - RED/BLACK LABEL - BLACK TEXT
Catalog on cover: (front & spine) ATLANTIC 1377
(rear) ATL-LP 09082 ATLANTIC 1377
Catalog on labels:
Side A: ATL LP 09082 (09082-A) ATLANTIC 1377
Side B: ATL LP 09082 (09082-B) ATLANTIC 1377
Matrix / Runout (Side A, Etched): 09082/A +
Matrix / Runout (Side B, Etched): 09082/B +
On labels: Atlantic Distribuzione RIFI Record Co.
Tutti Diritti Riservati Viet. Dupl......Made in Italy Febbraio 1968
Rights society/Publishing: BIEM
On Back Sleeve: Tracklist & Credits
Notes by Nat Hentoff
Distribuzione in Italia: RIFI RECORD - C.so Buenos Aires, 77 - Milano - Tel. 273641/2/3/4/5
Printed in U.S.A.(bottom left edge)
tracklisting
Side A: HOG CALLIN' BLUES - DEVIL WOMAN - WHAM BAM THANK YOU MA'AM
Side B: ECCLUSIASTICS - OH LORD DON'T LET THEM DROP THAT ATOMIC BOMB ON ME
EAT THAT CHICKEN - PASSIONS OF A MAN
grading
RECORD VG+ but (please, read above description)
SLEEVE VG+ but (please, see pictures and read above description)
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. Oh Yeah is probably the most offbeat Mingus album ever, and that's what makes it so vital...(AllMusic)
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