Yes, I have posted listening to this several times in this thread. Lots more than just Ms. Adnet to recommend for this one.
The text for Mingus' Beneath the Underdog was indeed severely edited eliminating the bulk of his book, removing most discussion of music itself. The entire manuscript is in The Library of Congress, but is likely only available to a scholar with "proper credentials". The publisher in 1971 (Knopf) decided to emphasize sex as much as possible. Mingus was not pleased at all. From the web: The reviewer for the journal Notes commented that "the reader is forced to plow through page after page of erotica (some might label it pornography) in order to ferret out the most basic kind of information about the man and his music." The Washington Post 's reviewer stated that the book is "sexual fantasy and tortured personality conflict", and complained that there was little information about Mingus' music or those he played with.
Peter Brötzmann - Machine Gun You ever hear someone say or see someone post: "Yeah, I like some free jazz, but I just can't get into this"? That's kind of what's going on here. Although unlike some free jazz that takes a few listens to catch on, the opposite is happening here. I actually took to this album more upon early listens and my appreciation wanes with each new spin. It truly is the most relentless aural onslaught I've ever heard in any genre. Really, the most aggressive thrash metal is tame by comparison. But the problem is that there is so much emphasis on the bludgeoning, that I have some difficulty hearing the creativity. I hear moments, but never across an entire song, and those are some pretty lengthy songs, so a little structure or something identifiable as flow would really help. I know this album is a landmark; pivotal, revolutionary, seminal.... and I'm not completely condemning the album, but it's something the more I tend to think of more along the lines of the naked emperor than a legit recipient of all that renown.
Joe Henderson - Page One with Kenny Dorham; Butch Warren; Pete La Roca & McCoy Tyner via The Complete Joe Henderson Blue Note Studio Sessions Disc 1 - Session (B)
Thanks for sharing your thoughts. Machine Gun was at a certain time years ago, one of my favorite jazz album. Like you, my appreciation of the music waned somewhat with time. No doubt that the agressive behavior of the album is pleasing me less as I grow older. I definitely have to be in the mood for it these days before I take it out. It demands a lot from the listener.
I like the story from one of the great bassists (I will leave unnamed) who was required to buy an additional first class seat to transport his instrument (if he wanted to ensure its safety). He always ordered two meals on such flights, as he was a hungry man, especially when touring gave him little time for meals. He frequently got into debates with flight staff when they told him that he could not get a second meal. One time, he resorted to showing them the second ticket that he had purchased in the name of "Mr. Bass". He told them, "Mr. Bass would like his meal now, please." (It was not Mingus)
Even when I was thoroughly exploring Free Jazz many, many years ago I never got into Brötzmann in general and this album in particular. The aggression totally put me off.
Didn't know this. I'd read the longer version of Mingus' bio. I enjoyed reading the published version regardless of the cuts, and still recommend it. I've heard this album a few times but not in ages. In the 90s I read a lot of The Wire magazine, and jazz wasn't my primary genre. I was looking for new and challenging sounds, and at the time while I greatly enjoyed jazz, the more 'out' I could find, the better. And Brotzman got the Penguin Guide and Wire props, so I was curious. Like others have noted I suspect my tolerance is lower today. Recently listening to Evan Parker's Monoceros I was reminded of the relentless attack of Machine Gun, and eventually came 'round to hearing through the 'noise' to the beauty. You've piqued my interest to listen again. NP: Warne Marsh - All Music (Nessa 1976 LP) 4* on AllMusic.com. Coincidence? I think not. Bass – Fred Atwood Drums – Jake Hanna Piano – Lou Levy Tenor Saxophone – Warne Marsh
Your post piqued me, especially the part about thrash metal because when my son was in high school he used to listen to death metal. I’m not a free jazz fan but listened to some of it on YouTube and although this album is not something I’d turn to, it’s certainly better than listening to metal. He’s true to his words of fast continuous firing.
My guess is that the editor of Charles Mingus' memoir "Beneath The Underdog" was under very strict orders from higher up to reduce its size from well over 1,500 pages to about 300 or so, and to make sure that it had the market appeal that the executives wanted. S-E-X. The editor with the thankless task, it turns out, was a writer that had a long association with jazz. Nel King. Nel King had written the screenplay for a film "All Night Long" in 1962. The IMDB states: "This movie, based on William Shakespeare's Othello, is neatly positioned as a vehicle to showcase some of the best jazz musicians of the period, including Dave Brubeck and Charles Mingus". A film appearance for Mingus! Nel King also wrote the screenplay for a 1956 television drama called "Letters from a Jazz Musician" which featured Brubeck and others. Maybe King was assigned the job because they thought Mingus would at least talk to him, and wouldn't kill him when he saw the removal of all his writing.
WP: Freddie Hubbard - Straight Life (CTI 1970, van gelder OG) Stellar line-up. First listen and lives up to its rep. None of the aspects of CTI that cloy. All adventure and excellence. Bass – Ron Carter Drums – Jack DeJohnette Guitar – George Benson Percussion – Richard "Pablo" Landrum* Piano – Herbie Hancock Tambourine – Weldon Irvine Tenor Saxophone [Tenor Sax] – Joe Henderson Trumpet, Flugelhorn – Freddie Hubbard NP: Jim Hall - Jazz Impressions of Japan (A&M 1977 Japan direct cut) First listen. Wow. Everything I like about audiophile (lifelike, vibrant) and none of what I don't (compromise on musicianship, staged). This reinvigorates my hunt for direct cuts. Bass, Piano – Don Thompson (2) Drums – Terry Clarke Guitar – Jim Hall
I always likes Straight Life, but at first I had it well behind Red Clay and First Light. Over time it has ascended largely due to the reasons you mentioned. I'm going to have to check out that Hall for sure.
The perfect LP to unwind with after a cloudy and messy Sunday of rain, sleet, freezing rain and snow. Red Garland Trio – Groovy - Original Jazz Classics – OJC-061, Prestige – P-7113 - 1957
NP: Booker Ervin - Setting the Pace (Prestige stereo original, 1967) Rec. 1965 in Germany. I'd been digging the Booker 'books' series, and stumbled on this LP. Was Ervin capable of a bad recording? So far, all good. Just his presence is a stamp of quality.
your post prompted me to dive into Eubanks's solo discography, and I fell hard for Turning Point, his first Blue Note album: Kevin Eubanks (guitar) Dave Holland (bass) Marvin "Smitty" Smith (drums) Kent Jordan (alto flute) I've never heard anything like it. Guitar (acoustic and electric), flute, bass and drums. What a strange, unique yet intoxicating combo. I've been spinning this all weekend. Wonderful stuff. Smitty Smith is a BEAST, slapping the s**t out of those drums like Billy Cobham, while Eubanks solos on acoustic. Recommended.
If you want to collect the Xanadu Label, you should also collect the Onyx Label. Both labels were essentially the creation of the producer Don Schlitten, who along with his New York group of jazz friends (such as Dan Morgenstern and others) created these labels to reissue rare jazz records and to issue for the first time other rare recordings and a few new recordings. The labels changed name and mailing address due to several factors. But, aside from changing the cover designs from silver and black to gold and black, and changing the font type, they were essentially all one series. Schlitten and his pals had a long association with a variety of labels, from Prestige (when it was an east coast label) to Cobblestone and others. Of course, Don Schlitten has also written extensively about jazz. Don Schlitten will celebrate his 90th birthday in a matter of weeks. Happy Birthday, Don, and thanks for all the music!
Charnett Moffett and Mark Mendesir are also on bass and drums on about half the album. It's a nice one. I love the sounds an alto flute can make.
