Album review: Charles Mingus, "Right Now"

Ok. So this is a Mingus album. What's there to write about a Mingus album that hasn't been written? But by that logic, everyone should shut up about everything! And that isn't what I plan to do...

Here's a little personal bit - "Mingus Ah Um" was among the first jazz albums that I heard, and listened to. Seriously. How can one not? Mingus, for the uninitiated like me, represents the soul of jazz compositions. And that he is a big burly cellist adds some aura - how many of us in India get exposed to that venerable instrument, and can imagine a band leader using the cello to such effect? Well, here was the magician, playing some brilliant stuff - the gospel shouts of "Better Git It In Your Soul", the soulful ballad "Goodbye Pork Pie Hat" (the famous Lester Young tribute), the mellow "Self Portrait in Three Colours" and the swingy yet deep "Fables for Faubus", Mingus anti-segregation knock-out. "Fables" became a favourite, of course for its catchy opening, and also for its meaning and depth. 

It got me interested into bass, in jazz. Made me love artists from Harry Babasin to Jaco Pastorius. Indulge in paying attention when the cello picks up - whether Ray Brown or Ron Carter or Sam Jones or Dave Holland. But it always led back to the hard bop master, and the undying charm of "Fables"...

So, when I found "Right Now" in a typically uninspired rack in a music store, and saw "New Fables" as the first track (there are only two, so hard to miss), I was intrigued. (Another name in the line-up, pianist Jane Getz, got me interested as well, till I realized she's no relation to Stan). Four listenings later, it is easily among the best buying decisions I've taken when it comes to my all-over-the-place jazz collection...

Firstly, this is a live album. The envy I feel for the crowd at the 'Frisco Jazz Workshop on those two nights in June 1964 is deep. And strong. What a session this is! With Clifford Jordan on tenor, John Handy on alto, Jane Getz on piano, and Dannie Richmond on drums, Mingus is on fire! Leading by example, from the front, egging on his team to keep up, he not only soars as a performer, but also shows why he was a supremely gifted band leader. The quality of the recording is good - along the way, you get Mingus and Richmond howling along with the music, slapping wood and egging the others on. The result is out there...

"New Fables" features a ten-minute solo from Jordan, some fine ensemble work by the others, and a solo encounter from Handy. Handy is a revelation for me, not having heard him much. He is so deep, so strong - alternately poignant and stirring, deeply imaginative and technically inspiring. Mingus changes the mood as he sees fit, and experiments -switching between blues, a flamenco-like Latin beat, and pure, straight ,hard boppish jazz. The switches are breathless and surprising, and yet embellishes the piece in one free flow of music.

This version of "Fables" plays at a higher tempo than the previous recordings, both in "Ah Um" and "Presents", as it meanders its way like an interesting journey. You're never quite sure what's next, and wait with bated breath. Its long - at 23 minutes - and can worry a listener, but it's a breeze that makes you miss it when it is done! Just when you think that you are approaching the finale, the dudes introduce a completely new section, making you sit up and clap your hands in joy. It is that kinda piece! This is about energy, excitement, joie de vivre, and controlled brilliance, rolled into one. 

A tip: listen to the three versions "Fables of Faubus" back-to-back! First try the original version  recorded on "Mingus Ah Um", then the version on "Charles Mingus Presents Charles Mingus" (featuring Eric Dolphy), and then listen to this version. This one will make even the most avid jazz-haters and Britney-lovers wake up!

"Fables" is so good, and then "Meditations (For A Pair of Wire Cutters)" is a bonus. A contrast to "Fables" - deeper, more introspective, sophisticated and poised. And much more structurally collaborative. 

Here, we get melancholy - Mingus bows the bass in the cello range to evoke immense sadness, while teenager Jane Getz plays loose, free, and exciting (she was 16 then, must have been terrified of the man's presence). And the high-point is where Mingus joins Getz for a four-handed piano romp. Its a partnership that plays out well, with Mingus goading her on - you can hear him exhaling towards the end of the song - "B flat - Jesus!" The piece ebbs and flows like a classic ballad, but there are constant changes throughout. Unpredictable and original, "Meditations" is a perfect foil for "Fables", hauntingly touching and underplayed. 

The music is, as Rachel Sales states in the liner notes, "what we have come to expect from Mingus the bassist-composer: the sound of exuberance, of angry involvement, or joy and rage, of going-for-broke, and most of all, the `sound of surprise'." I would agree (as if it matters!). This is THE definitive Mingus album for me, and the two pieces showcase the great man like no other. For beauty, energy, vitality and charm, Mingus, in my opinion, can easily rank alongside any classical composer of repute. "Right Now" shows why.