||Hog Calling Blues||Charles Mingus||7:22||$1.29||View in iTunes|
||Devil Woman||Charles Mingus||9:45||$1.29||View in iTunes|
||Wham Bam Thank You Ma'am||Charles Mingus||4:42||$1.29||View in iTunes|
||Ecclusiastics||Charles Mingus||6:59||$1.29||View in iTunes|
||Oh Lord Don't Let Them Drop That Atomic Bomb On Me (Alternate Version)||Charles Mingus||5:46||$1.29||View in iTunes|
||Eat That Chicken||Charles Mingus||4:39||$1.29||View in iTunes|
||Passions of a Man||Charles Mingus||4:52||$1.29||View in iTunes|
||Old Blues for Walt's Torin||Charles Mingus||7:55||$1.29||View in iTunes|
||Peggy's Blue Skylight||Charles Mingus||9:46||$1.29||View in iTunes|
||Invisible Lady||Charles Mingus||4:49||$1.29||View in iTunes|
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. [Some reissues add three bonus tracks from the session, first released on Tonight at Noon.]
Not dinner jazz
This album kicks you in the pants and makes you like it. Mingus spews random gutteral phrases like an evangelical devil. He plays piano with two pork chops for hands and makes it sound great. Listen thrice. The first two just go by you like a freight train on a down grade...
The opening review says it better than I can, but I'll add this: if the image of a group of musicians (with major chops) breaking into a studio and playing as wild and loose as they can appeals to you, you'll like this album. Roland Kirk is amazing.
Sing it brother!
Man I tell you, this one is a must. Speak! You want a little church? Come forth and preach! Any Mingus is good Mingus, but this one is up there in the heavens, scours the earth, and digs deep in the depths of hell.
Born: April 22, 1922 in Nogales, AZ
Years Active: '40s, '50s, '60s, '70s