Gig Review: Charles Mingus Orchestra
20.11.2003

By Jason Caffrey
jason@jazznation.co.uk

Queen Elizabeth Hall, London, 20 November 2003

My evening at the QEH began with an introduction from Mingus' widow, Sue. A hush fell over the audience as she explained that the orchestra uses more 'exotic' instruments than the 'big band' version of this ensemble. 'Instruments which Charles loved', such as french-horn, bass-clarinet, and bassoon.

There was spontaneous applause when Sue explained that she'd been asked what had happened to Mingus' bass - the answer was that it was on the stage in front of us (far out!) and ready to be played.

And indeed it was. The excitement of hearing those unmistakeable orchestrations performed live really raised the goosebumps. 'Wow, it's Mingus!' I thought, when I heard the distinctive double-bass opening of Haitian Fight Song.

But of course, it wasn't Mingus, and the bass maketh not the band. Across two sets my anticipation turned to frustration, as flashes of brilliance proved to be mere glimpses of the quality that the Mingus name promises.

It was wonderful to hear bass-clarinet and bassoon in this setting, but they were confounded, along with vocals, by an unflattering sound-mix. There were some interesting solos, but this was ultimately a workaday performance. Themes could sound uptight, and the swing was often square-shaped, even rinky-tink. The cross-rhythms that characterise much of Mingus' music were largely absent, and the french-horn only distinguished itself by bringing to mind a 1970s chocolate advert. Remember 'because the lady loves Milk Tray'?

There was far too much in the way of empty technique, particularly from drums and tenor. I'd rather hear a workshop novice croak out three notes and say something with them, than listen to bar after bar of barren pyrotechnics. A solitary meaningful trombone solo wasn't enough to redeem a clutch of missed opportunities.

Perhaps the most disappointing moment was hearing Mingus' ballad Eclipse contorted into a cheesy salsa workout. With all the mystique of the original neutered by an excruciating arrangement, the soloists simply dragged the rhythm-section into double-time for more pointless blasting. Nobody, it appeared, was willing to take on the unique challenge presented by the slow tempo.

Speaking to the audience, Sue Mingus pointed out that her husband was one of the most prolific American composers of the twentieth century. The Mingus name brings with it high expectations. This lacklustre performance fell short with it's unadventurous approach and nameless solos.

Well-practised showmanship may have brought the evening to a close with the audience on it's feet, but my thoughts kept straying to stories of Mingus shouting at soloists mid-performance: "Stop playing those tired old licks in my band!".