CHARLES MINGUS — Pithecanthropus Erectus (review)

CHARLES MINGUS — Pithecanthropus Erectus album cover Album · 1956 · Hard Bop Buy this album from MMA partners
4/5 ·
js
“Pithecanthropus Erectus” wasn’t Charles Mingus’ first album, but it was the first one where he took total artistic control and presented what would be the Mingus musical vision for much of the rest of his career. Starting with this album, Mingus’ fascination with Duke Ellington became more apparent as both composers liked to use early New Orleans jazz and the blues as raw material from which to build their musical colors. Mingus took Ellington’s innovations one step further by embracing much of what would soon become the “free” and avant-garde in the world of jazz.

“Pithecan …” opens with the album’s title song which features those unmistakable urban noire jazz/blues riffs that were always the calling cards for both Ellington and Mingus. A few minutes into the song though, Mingus introduces abrupt rhythm changes and hectic solos from his horn players that show he was definitely taking his band into uncharted territory. A lot of people don‘t know what to make of this album’s second tune, but “A Foggy Day” seems to paint the picture of the struggling jazz combo playing an old standard on the corner while the busy and indifferent urban landscape goes on around them. Mingus and his crew create the urban soundscape by skillfully reproducing the sound of traffic and construction with their instruments. Its an odd piece, especially for its time. It’s hard not to notice the appearance of a police whistle and siren, possible a wry comment on the life of a jazz musician during that time.

“Profile of Jackie” begins like a jazz ballad, but then seems to get stuck in some static harmonies for a while before continuing on its path. Its an interesting tune and a nice showcase for Jackie McLean who shines all through this album. “Pithecan…” closes with “Love Chant”, which starts with a mellow repeating modal riff that pre-dates similar riffs like “All Blues” and “Love Supreme”. After this lengthy intro and a few abrupt change-ups, Mingus and the crew break into an old school swing/blues jam driven by a tambourine, not a trap set. Jazz fans may not get what the tambourine is about, but anybody who has lived near an urban Pentecostal Church in California knows how that tambourine will reverberate through the neighborhood during morning services. This last section isn’t jazz, it’s the church music of Mingus’ youth.

This is a good album and a must for Mingus fans, but his later records will show a slightly more developed artistic vision, as well as even stronger performances from his sidemen. Still, you won’t go wrong starting off your Mingus collection with his first near “masterpiece”.
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