Passions of a Man: The Complete Atlantic Recordings (1956-1961)
Charles Mingus's Atlantic recordings represent the first full realization of his immensely original talent, pressing the boundaries to create an ever more fluent, expressive music. While his contemporaries moved in various directions--third stream, soul, free jazz--Mingus seemed to embrace them all. His creative energy is already apparent in his first Atlantic session, a quintet from 1956 with saxophonistsJackie McLeanand J.R. Monterose. The sudden tempo shifts of "Pithecanthropus Erectus" introduce a new turbulence, while the programmatic sound effects of "A Foggy Day" stretch the sonic limits. Mingus's bass is an ever more expressive instrument as well, driving the different ensembles to greater heights, with the explosive "Haitian Fight Song" among the early masterpieces here.The set highlights the appearance of sidemen who could participate fully in Mingus's visionary work, including trombonist Jimmy Knepper and drummer Dannie Richmond. The multi-reed playerEric Dolphywas unquestionably his greatest collaborator, and the two could engage in startlingly speechlike instrumental conversations. The live recordings from the 1960 Antibes Jazz Festival present what may well have been Mingus's greatest band, with Dolphy's leaping, skittering, free-jazz virtuosity effectively contrasted withBooker Ervin's booting, full-toned tenor on charging, gospel-infused pieces such as "Wednesday Night Prayer Meeting" and "Better Git It in Your Soul." The final Atlantic session presents another change in direction, with Mingus switching to piano and singing some manic blues in the company ofRoland Kirk, another musician well attuned to Mingus's always complex aims. The final CD consists of a revealing interview with Mingus discussing his work. Like the1959 Columbia recordingsand some of the later Impulse material, this is essential Mingus.--Stuart Broomer