Album Review: Charles Mingus – Mingus at Monterey
This record would be remarkable if only for the fact that it’s a superbly-recorded live document of the acclaimed jazz bassist at his creative peak. But it’s also noteworthy as a fairly early entry in the world of double albums. I understand that Benny Goodman released one way back in 1950 (The Famous 1938 Carnegie Hall Jazz Concert), but when Mingus in Monterey appeared on record store shelves in 1965, neither Frank Zappa’s Freak Out! nor Dylan’s Blonde on Blonde had been released.
Yet as always, it’s about the music. And Mingus at Monterey sounds like it was recorded yesterday. Even restored to its original monaural format (the original release claimed it was stereo), the crystalline audio, sublime balance and high fidelity showcases all of the nuance of the performance. Long out of print, it’s back now thanks to this Candid Jazz Workshop reissue.
The entirety of Side One of this new vinyl reissue features a Duke Ellington medley; while each of the musicians gets his turn in the spotlight, Mingus’ pliant and assured bass work is at the center of the proceeding. The subtlety of “Sophisticated Lady” is contrasted with the wailing, high-energy bop of “A Train,” and while the transition from one to the other is a bit jarring, well, that’s how they played it. Jaki Byard’s ragtime-ish piano solo is thrilling.
“A Train” is such a wild ride that it doesn’t even fit on Side One; you have to flip the LP over to hear the rest. In total, the track runs over 13 minutes. Not a second is wasted, either. And the long-form approach is carried forth. Side Two continues with a melodious Mingus original, “Orange Was the Color of Her Dress, Then Blue Silk,” which runs into Side Three. Midway through the tune the band gets a bit abstract, but then they shift gears and swing in spirited, upbeat fashion.
“Meditations on Integration” rounds out Side Three and all of Side Four. Mingus’ mid-piece bowed bass work is a thing of beauty. And despite its title, it’s no sort of meditative; it represents Mingus and band – who sound here like a bigger ensemble than they are – at their most unhinged (yet cohesive), bringing the set to a close in an ambitiously wild manner.
About the Author
Bill Kopp
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day for several years). The more than 5000 interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He regularly hosts lecture/discussions on artists and albums of historical importance (including monthly events Music to Your Ears and Music Movie Mondays), and is a frequent guest on music-focused radio programs and podcasts. In Spring 2023 he taught a history of Rock 'n' Roll at UNC Asheville's College for Seniors. He also researches and authors liner notes for album reissues -- some 40 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, was published in 2021 by HoZac Books. His third book, What's the Big Idea: 30 Great Concept Albums is available now. Read even more about him here.