Few bodies were anytime able to battle melody out of an cocked bass or command a clinking applesauce bandage like Charles Mingus—though all that is basically extraneous on this anthology of abandoned piano works. The abstraction seems a bit incongruous, like if Eddie Van Halen absitively to absolution an oboe-only almanac in his prime, but Mingus was no artsy on the keys. At a adolescent age, he was mentored on the apparatus by the quick-fingered applesauce titan Art Tatum, and this anthology of originals, reinterpretations, and ad-lib performances adds addition ambit to his amazing talent.
Unlike Mingus’ full-band albums and shows, which could be boisterous diplomacy that teetered on the bluff of chaos, Mingus Plays Piano is alluringly spare, accumulation elements of jazz, blues, and his admired classical music. Opener “Myself When I Am Real” was abundantly fabricated up on the spot, a shapeshifting carol that doubles as a airy account of Mingus’ own creativity. Elsewhere, there are skewed standards, quiet confessionals, and an eight-and-a-half minute ode to Mingus’ America, a circuitous and adverse abode area atramentous men like him were generally larboard out. The record’s apparitional body still speaks to artists like Blood Orange’s Dev Hynes, who sampled “Myself When I Am Real” to acquaint his own abstruse and claimed argument on actuality atramentous in America, Freetown Sound. Truth, beauty, liberty—it’s all here. Unadorned. –Ryan Dombal
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