by Charles Mingus
1961, Atlantic Records

the sound: Like most of Charles Mingus’ recordings, “Oh Yeah” consists of jazz compositions stemming heavily from old blues and gospel roots. Unlike most of his recordings, Mingus plays piano instead of bass on the disc. He also sings and shouts in hoarse, often stream-of-consciousness vocals on several songs, expressing both his untamed musical exuberance and his dark but jocund sense of humor. With Doug Watkins ably covering for the leader on bass, long-time Mingus drummer Dannie Richmond beating the skins and mad genius Rahsaan Roland Kirk making all kinds of noise, the album is a real treat to hear. Kirk plays tenor sax, flute and a variety of less conventional instruments, while Booker Ervin adds more tenor sax and Jimmy Knepper plays trombone. The album instantly adopts a tense and blood-pumping tone with the opening track, “Hog Callin’ Blues,” and Mingus’ tongue-in-cheek paranoia later finds an outlet in “Oh Lord, Don’t Let Them Drop That Atomic Bomb on Me.” The music gets a little more lighthearted with “Eat That Chicken” but ends on a heavier strain with “Passions of a Man.”

the background: Originally released by Atlantic in 1961 and converted to CD in the late 1980s, “Oh Yeah” holds a unique place in the Mingus discography, primarily in that he does not play a single note on bass. The prolific upright giant proves to be more than competent on the keys, and his playful, improvised singing serves to both spice up the compositions and encourage the other instrumentalists. Mingus recorded more than 100 albums in his life and wrote more than 300 scores, but “Oh Yeah” may be the only record to feature him exclusively on piano and vocals. After working with the likes of Charlie Parker, Miles Davis and Duke Ellington in New York in the 1950s, Mingus would have been close to 40 years old when he recorded “Oh Yeah” in the early ’60s. By then, he was an established bandleader, which was exceptionally rare for a bassist. Mingus died in 1979 at age 56, but his bassist son Eric has continued to carry the jazz torch, even performing in Portsmouth during Jazzmouth festivals in 2006 and 2007. 

the significance: For a man who ranks among the greatest bassists in jazz history, it’s remarkable to note that Mingus probably could have built an entire career around the piano, had he chosen to go that route. His contributions to the genre stretch far beyond his instrumental prowess into his more encompassing role as a brilliant composer of original and often avant-garde material. Though not ranked among his most classic works, “Oh Yeah” demonstrates Mingus’ compositional range and his musical sense of humor in an intensely bluesy vain. Gritty but accessible, the album is also notable for the natural chemistry evident between Mingus and Kirk, two inimitable artists who complemented each other like few others. The CD also includes a nearly 25-minute interview of Mingus by Atlantic producer Nesuhi Ertegun.