Final Four For Mingus - A Live Report

Dr. AJ Johnson has hosted four programs at City of Asylum in recent months, all devoted to the music of Charles Mingus. I missed the first three so I made sure not to the miss the final one. 
"The Final Four For Mingus" took place on Thursday, August 31.  

The instrumentation was put together to ensure that the group would be able to create the feel for a Mingus score, with a cast of familiar faces and a few surprises. Dr. Johnson lead the group and played trombone and tuba. The saxophone section featured Opek/Thoth Trio leader Ben Opie (on tenor exclusively tonight) and Rick Matt (baritone sax, flute) along with relative newcomer Ini Oguntola, who almost stood out with his alto solos that both acknowledged the Mingus work and blew with passion. Tommy Lehman, who came on a recommendation from Sean Jones, held the trumpet seat, getting a good jagged tone that Mingus liked, especially when his mute was in use. The rhythm section consisted of Mark Michelli (piano), Jeff Grubbs (bass) and James Johnson III (drums).  

Material for the evening emphasized Mingus' love for Duke Ellington, directly or indirectly. The group opened with "Love Chant," a relatively deep cut from Pithecanthroput Erectus, which gave everyone a chance to stretch out. Johnson is a good host who offered some good information about the pieces, which also included "Fleurette Africaine (African Flower)," a rhythm section showcase that originated on Money Jungle, the legendary meeting of Ellington, Mingus and Max Roach. 

The evening also included a few video excerpts with words from Mingus about Duke and from Ellington members talking about how a scuffle with trombonist Juan Tizol ended Mingus' brief tenure in Duke's band. I think both clips came from the film Triumph of the Underdog, though there were also clips from the black and white 1968 film Mingus about his eviction from his New York loft. The context for including the latter scene was that low point in high life was followed by a high point of the bassist getting asked to play in a jazz festival to honor his hero. 

"Us It Two" was another surprise in the set, as it was not a standard part of the Mingus canon. In fact it's relatively hard to find, appearing only on Charles Mingus and Friends In Concert. This one featured Johnson on tuba, proving, in the tradition of players like Howard Johnson and Bob Stewart, that that big old instrument can swing with the best. 

It seemed like only a matter of time before the group would play "Duke Ellington's Sound of Love," which Mingus recorded for both of his '70s albums Changes, one with vocals and one without. And it was great to hear it again. The lush ballad is a testament to the power of the bassist's later albums, which shouldn't be overlooked. Matt also got a chance to stretch out on the Changes track "For Harry Carney," the homage to Ellington's career-long baritone player.

"Open Letter to Duke" seemed like an obvious choice too, especially with Ben Opie involved, since it comes from the classic album Mingus Ah Um, one of his favorites. What is not obvious is how much the soloists on that album (tenor saxophonist Booker Ervin, alto saxophonist John Handy in the unedited version) are so crucial to that tune. In other words, it can be a challenge to pull it off. But Opie and Oguntola sounded amazing in the solo sections and the lush, slower sections. Johnson also captured the spirit of Dannie Richmond's idiosyncratic drum style, which can be hard to get right. 

Then there was "Tonight At Noon." This rapid fire melody had everyone sweating bullets and seemed like it was close to pulling the rhythm section apart from the horns. But it didn't. It was on fire the whole time. While everyone in the rhythm section stayed tough, mention should be made of Michelli's visceral approach to the piano. I've seen him do free improvisation, hulking over his instrument. He brought the same intensity to the 88s that night. The standing ovation the group received at the end of the set was well deserved, for song choice and execution.

After the set, when Opie rattled off the names of some tunes that were played in the previous shows ("Hora Decubitus," "Boogie Stop Shuffle" and a few that he said he had never played before), it filled me with a twinge of regret for missing those nights. Mark your calendars and make plans with you hear about shows! Don't miss them!