Mingus at Antibes

Phenomenal players, phenomenal compositions, and a phenomenal leader -
the three pillars of an unforgettable jazz record.

Yesterday, I wrote on a record that derived its brilliance almost solely from the exceptional improvisational abilities of its musicians. In doing so, I also alluded to jazz that derives its brilliance from structure rather than instrumental virtuosity. This is not to suggest that it's a perpetual either/or situation with jazz, though. Today's offering, Charles Mingus' Mingus at Antibes (released 1976, recorded 1960), in fact features both varieties of brilliance.

From the perspective of talent, it's difficult to compete with Mingus' early-60s band. First of all, there was Mingus himself hopping between bass (his natural instrument) and piano. As a bass player, Mingus may not have been as subtle or versatile as Paul Chambers or Ron Carter, but he could swing like no other - perfect for propelling his groups into states of harmonically-induced ecstasy. Completing Mingus' rhythm section was Dannie Richmond, his "personal drummer." The two worked together almost exclusively, developing a close musical relationship that would last over two decades. Ted Curson (trumpet) and Booker Ervin (tenor saxophone) - both excellent soloists in their own right - rounded off the horn section. Finally, Eric Dolphy (woodwinds) provided the melodic and improvisational backbone, using his masterful abilities to bring Mingus' compositions to new heights. This was a solid group to say the least, bolstered not only by exceptional talent, but constant touring and recording as well.

From the perspective of structure and leadership, Mingus had no peer. Jazz is a quintessentially American form, and Mingus treated it as such, lacing his compositions with hints of blues, gospel, and folk. Additionally, he had an uncanny ability to get the most from his musicians. Such an ability came at the expense of his reputation, however. Mingus was known in some circles as an uncompromising taskmaster. Nonetheless, it's hard to argue with results - many of the musicians who worked with him over the years had their finest moments under his tutelage.

Today's upload is "Wednesday Night Prayer Meeting." The studio version of the song comes from Mingus' legendary Blues & Roots (1960), but this live version is superior to my ears. Note the structural prowess on this one - the song is firmly rooted in jazz, though it is based around a blues progression and utilizes elements of gospel spirituals. Listen to the break around 6:20 when the band drops out, adds handclaps, and Mingus starts playing the role of preacher, shouting "Rain down fire!" Also listen to Dolphy's solo at the 3:06 mark, which is significant for two reasons: 1) it's Eric freaking Dolphy doing his thing, which always shines brightly. 2) You can hear Mingus prodding Dolphy as he plays. This is most apparent around the 3:30 mark as Dolphy completes a phrase, Mingus calls "Think about it, Eric," and Dolphy responds with an even more ridiculous phrase. One can only imagine how electrifying this was in person...

Wednesday Night Prayer Meeting