JAZZBO NOTES RECOMMENDED RECORDING

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When Charles Mingus recorded Changes Two in 1975 (reissued on the Rhino label), his kind of music was considered completely irrelevant. That made him extremely angry, which I completely understand. Only fifteen years before, he was on the cutting edge of jazz, incorporating post bop, free jazz, gospel, and even the music of early Duke Ellington into a stimulating stew.

And that’s basically what he does on Changes Two. In one way, Mingus’ career trajectory is similar to to that of Thelonious Monk. Like Monk, Mingus made a bunch of drastic innovations early in his career and then just played in that style until God put a cane around his neck and yanked him off the stage of life. Good for him.

Changes Two has some different players than Mingus’ 60s bands, but they’re playing predefined roles, so stylistic continuity is preserved. George Adams on tenor does what Booker Ervin used to — shuffle effortlessly between gospel shouts, free jazz, and bebop. The same could be said of young lion (at the time) pianist Don Pullen, subbing for Horace Parlan or better yet, Jaki Byard. On the other hand, Mingus has the invaluable drummer Dannie Richmond to help the band negotiate the endless transitions required in this music, and anchor the rhythm section. Jack Walraith rounds out the group on trumpet. With the exception of Walraith, this had been Mingus’ regular group for two years, and it shows. Everybody is definitely on the same page.

So, how good is Changes Two? For me, it’s not quite at the level of Mingus Ah Um, A Modern Jazz Symposium of Music and Poetry or New Tijuana Moods, but what is? There’s still some fine jazz on this CD.

There are some especially attractive themes and grooves on the appropriately multi-hued Orange Was The Color Of Her Dress, Then Silk Blue. I’ve got to admit, I was impressed by guest vocalist Jackie Paris on Duke Ellington’s Sound of Love. It’s difficult to sing what instrumentalists write with any naturalism. Paris pulls this off beautifully. He also sings on key, which would seem to be a given, except we’re talking about the 70s, in which decent vocalists were as rare as hen’s teeth. Finally, Jackie Paris talk/sings the lyrics with some feeling.

Changes One was issued at the same time as Changes Two, using the same band, so if you like one, you’ll no doubt enjoy the other.

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