Blues & Roots (Analogue Productions Atlantic 75 Series) (Vinyl)

Much like the brilliant Demon’s Dance, my first Jackie McLean album that I reviewed recently, this is my first Mingus album. For both virtuosos, I’ve waited far too long.

Of course, I’d heard McLean and Mingus in passing but must have caught them on a very avant-garde day, maybe even a little “free jazz” experimentation, both not really my thing.

So when Chad Kassem of Acoustic Sounds announced the 75 new Analogue Productions 45 RPM recuts from the Atlantic catalogue (to celebrate their 75th Anniversary), my eyes jumped to a striking cover, Charles Mingus’ Roots and Blues, a straight-ahead blues album improvised and ready to swing. Sold.

All tracks are by Charles Mingus. Tom Dowd recorded it on February 4, 1959, at Atlantic Studios in New York City. The producer was Nesuhi Ertegun. It was released in 1960. This 2023 recut is by Kevin Grey and is released on 2 LPs.

Here, Mingus uses a large group (9 musicians). The music is generally improvisational in form with the band full of Mingus acolytes. He chose wisely. No matter where Mingus goes, they follow brilliantly. It’s a big sound with many brave solos, shoutouts, and a strong rhythm section, as expected.

I have never heard an original pressing, either the common mono or the less available stereo. I can imagine this exceptionally powerful and detailed cut betters them both.

The tracks are:

1. “Wednesday Night Prayer Meeting"

2. "Cryin' Blues"

3. "Moanin'"

4. "Tensions"

5. "My Jelly Roll Soul"

6. "E's Flat Ah's Flat Too"

The production values are typical Chad; stunning Stoughton jacket, great artwork and silent, flat vinyl.

After taking to heart the criticisms that many of his albums didn’t “swing”, Mingus went full-on blues and swing on Roots. He memorized his individual parts on the piano and instructed his players by ear—no charts. He was aiming for, and got, spontaneity.

The session sounds like the players were not just inspired by the great man but were having a blast. The give and take between musicians is dazzling and Mingus drives it all with great power. Listen where he changes from swing to straight eighths in “Moanin’”. Stunning invention.

Pepper Adams on baritone sax is no Gerry Mulligan, but his cutting, buzz-saw tone is perfect on “Moanin’” and the triple-tonguing technique displayed by the trombones on “Tensions” is very impressive. And where Mingus solos, it’s always an inventive treat. He’s definitely the driver of this bus.

Personnel

Charles Mingus – bass

John Handy – alto saxophone

Jackie McLean – alto saxophone

Booker Ervin – tenor saxophone

Pepper Adams – baritone saxophone

Jimmy Knepper – trombone

Willie Dennis – trombone

Dannie Richmond – drums

Horace Parlan – piano, except for on "E's Flat Ah's Flat Too"

Mal Waldron – piano on "E's Flat Ah's Flat Too"

The sound on this Analogue Productions 45 RPM is spectacular. Easily, one of the best recuts I’ve heard of any genre. Kevin Gray’s work is exemplary. Tasteful and adds to a historic document. One where Mingus acquiesces to the critics but maintains his “voice” and style. I’d say a triumph all around.

It’s also fun. The solos are almost in your lap (in a good way) with a solid stereo spread. Timbres are incredibly lifelike. Spotlighting occurs but it all is done in such a natural, musical way. The proverbial, you’re there.

This is not a drummer’s record. Dannie Richmond is solid but I can imagine with a personality like Mingus, he’s watching his step. But when he does go gospel on “My Jelly Roll Soul” his rim work is tasteful and effective. It’s even worse for piano players as good as Waldron and Parlan—they know not to double the maestro’s bass line with their left hands. Were there fisticuffs between a trombonist and Mingus in this session? For sure, Mingus's tempestuous nature caused him to fire a gun on stage when players weren’t cutting the mustard and once destroyed his bass in a fit of temper.

But forgiveness always came because of his genius and ability to push the jazz envelope. A giant among jazzers. And shame on me for not appreciating his genius sooner.