Let my children hear music

Charles Mingus – Let my children hear music; for me this album certainly ranks as one of the best. It has the perfect balance of spontaneity (the band launches sometimes even into free improvisations) and organization. I know that nothing is perfect and there must be some flaws in this recording, but I must admit that I just can't see them. Maybe it is the "blinding effect" of the colorful orchestrations.

The intensity and vigor that are typical for Mingus present through out the recording. Each musical piece is so deep that the discussion can take months and not become exhausted. That album was one of the first to be recorded after Mingus' long time retirement (he was quite busy while writing his "Underdog" book and probably training his cat). Most of the arrangements are the results of a supreme work by Sy Johnson.

Shoes of the fisherman's wife – this track is actually full of classical (or better to say: academic) influences. It is built in the form of a sonata. The introduction contains two distinctive musical themes (the slow beautiful melody which begins the work and the 3/4 theme that appears afterwards), the section of the classical development is replaced of course by improvisations and the finale is built like a reprise with slight changes. The slow melody stated simply at first with a two voiced counterpoint (melody and bass line) and all the instruments play these lines in unison (or different octaves). With each new phrase new instruments are being added to double the bass and the melody. Aside from adding color the band just sounds louder, firmer and stronger with every addition. The next time that this theme is stated the harmonization and voice leading are much richer.

Group improvisations are found in many tracks of the album, but in "Shoes" there are echoes of Coleman's "Free Jazz" and Bach/Handel like concerti grosso.

Taurus in the arena of life – the name of the piece is symbolic for Mingus. Born on April 22nd he astrologically was a Taurus and surely viewed his life as an eternal fight (against whoever was around). I can't understand the purpose of the short quasi classical piano introduction, but it still sounds o.k. to me. The center of the song is surely the tenor + trumpet improvisation, which appears with two different backgrounds: Spanish (the inevitable association with bulls and arenas) and Gospel.

Hobo Ho – the piece begins with an ostinato motive played by the bass and later doubled by tuba. The rhythmic pattern is also doubled by the drums. In the start the band "shouts" chords that are built note by note from different instruments. The song is a show off for the mind blowing tenor sax solo. There are some beautiful things being played behind the solo, sometimes improvised and sometimes written counterpoint. The vamp builds slowly until it reaches the climax of intensity.

The chill of death -  This is probably Mingus' most artistic piece, compared even to his other narrated works. As the liner notes show Charles intended to find an organic synthesis of the symphonic/orchestral with the improvised. One of his inspirations was actually Bird that called him someday and played with Stravinsky's record. Mingus wanted to create something "jazzical".

Adagio ma no troppo - takes these concepts farther. I must admit that I never heard "Mingus plays piano" and it is really hard for me to believe that this is an orchestration of his improvisation. The piece is totally written out.

Don't be afraid the clowns are afraid too – an extension of Charles' small group polyphonic concepts. The basic melody stated and afterwards more layers are being laid above it until the "b" section reached with its typical burlesque like motifs in 3/4. There are many moments of group free interplay. Some players are payin' dues to their bebop influences inside this orgy of sound. I managed to catch someone playing Parker's "Now is the time" and Dameron's "Hot house". The interplay is quite intriguing and fascinating.

List of tracks and arrangers

  1. The Shoes Of The Fisherman's Wife Are Some Jive Ass Slippers (9:34)
    Transcribed, arranged, orchestrated and conducted by Sy Johnson.

  2. Adagio Ma Non Troppo (8:22)
    Transcribed by Hug Miller. Orchestrated and conducted by Alan Raph.

  3. Don't Be Afraid, The Clown's Afraid Too (9:26)
    Conducted by Teo Macero. Transcribed, arranged and orchestrated by Sy Johnson.

  4. Taurus In The Arena Of Life (4:17)
    Arranged, orchestrated and conducted by Sy Johnson.

  5. Hobo Ho (10:07)
    Arranged by Charles Mingus and dictated to Bobby Jones. Conducted by Sy Johnson.

  6. The Chill Of Death (7:38)
    Orchestrated by Charles Mingus. Conducted by Alan Raph. Recitation by Charles Mingus.

  7. The I Of Hurricane Sue (10:09)
    Scored by Charles Mingus, especially for this date, for small jazz orchestra with ten piece traditional orchestral accompaniment. Large band arrangement by Sy Johnson.