Charles Mingus: Tijuana Moods (20th Century Masterworks 350287)
In the late 50s the Charles MIngus Jazz Workshop recorded four influential albums that have acquired legendary status over the years: Pithecanthropus Erectus (1956), Tijuana Moods (1957), Mingus Ah Um and Blues & Roots (both 1959). Frequently reissued, they have all been awarded five stars in the All Music Guide To Jazz.
In 1962 Mingus claimed that Tijuana Moods was “the best record I ever made”. The opening title, Dizzy Moods, was introduced by him on an earlier trio album with Hampton Hawes and Dannie Richmond. Despite the blues tonalities it has a standard 32-bar AABA structure with an interesting tempo change ro 6/4 in the bridge. This form is maintained during some fine solo statements from Jimmy Knepper together with the mysterious Curtis Porter (aka Shafi Hadi) and Clarence Shaw, who both disappeared from the jazz scene later in the 60s.
Ysabel’s Table Dance is a provocative mix of paso doble rhythms featuring the flamenco dancer Ysabel Morel’s dramatic vocalising along with her idiomatic castanets. There is also some straightahead jazz blowing with passages of collective improvising which became something of a Mingus trademark. He threw the kitchen-sink at Los Mariachis, with its startling tempo changes, calypso rhythms and slow passages accompanied by his own unique exhortations. Clarence Shaw’s delicate trumpet is centre stage on Flamingo, this time in a harmon. Incidentally, it should be pointed out that Dannie Richmond had only taken up the drums about two years before this recording. He was to remain with the Jazz Workshop on and off until 1978.
In 2000 RCA Victor released the final word on this album with their Complete Tijuana Moods double CD which includes six alternative takes (RCA Victor Gold Series 74321749992).
Pat Petrillo: Contemporaneous (Innervision Records Inn5050)
Drummer Pat Petrillo has played with Patti LaBelle, Gloria Gaynor and Israeli guitarist Oz Noy. A versatile performer he has also worked on Broadway shows like A Chorus Line, Grease, Footloose and Dreamgirls. His Contemporaneous CD is a high-energy fusion of R&B, funk and soul together with a (very) little side-order of jazz along the way. The press release reveals what can be expected: “Petrillo blends together all those influences and inspirations to create new music filled with melodic hooks (that are) creatively funky yet also filled with musical complexity and virtuosity.” With his right-on-the-money accents and fills the leader is clearly an accomplished percussionist, perfectly at home in the genres he specialises in. This was confirmed when he was selected to appear on the cover of the world’s most widely read drum magazine, Modern Drummer, in February 2023.
The opening Fused, with its heavy rock rhythm, benefits from fine trumpet and trombone statements from Mike Cordone and Lemar Guillary over repeated ostinatos. There are several notable horn solos throughout, especially on the foot-tapping Late Night Diner, which has an earthy R&B groove featuring Cordone again and Scott Mayo on tenor. The track could easily have been expanded to allow them more than just one chorus each of the blues. How’s The Weather has some busy, bustling soprano saxophone from Phillip Wack. I don’t know what we should make of the title track, Contemporaneous. It is a drone with all the instruments played by the leader – drums, guitar, synthesizers and sitar. There are also dissonant electrical sounds accompanying male and female voices occasionally chanting “contemporaneous”. Not an enjoyable listening experience. More interesting are Dirty Jerz and Weekend Vibe, which revisit the disco scene with some distinguished trumpet from Steve Jankowski in a harmon.
3 Cohens & WDR Big Band: Interaction (A-Train ANZ-0090)
The album title probably needs a little explanation: The 3 Cohens are the hugely talented siblings Yuval (soprano saxophone), Anat (clarinet) and Avishai (trumpet). Anat is probably the best known from her sterling work as a multi-instrumentalist with the Diva Jazz Orchestra. They have already recorded six albums together for the Anzic label – One (2003), Freedom (2006), Braid and Seven (2007), Family (2011) and Tightrope (2013) all with just a rhythm section. Back in January 2012 they were featured on the front cover of DownBeat which hailed their “chemistry, alchemy and telepathy”. They reveal those qualities and more on this latest release. They’re accompanied by Germany’s venerable WDR Big Band, which performs this tricky material with its usual élan.
The fanfare-like Shufla De Shufla develops into an extended ostinato featuring the Cohens along with WDR’s pianist Billy Test. Tiger Rag is a respectful paraphrase of a traditional favourite premiered by the ODJB in 1917. It has some old-style Dixieland polyphony in a rousing coda. Avishai Cohen in a harmon is quite Miles-like on the slowly moving harmonies of Naked Truth Pt 2. There is more delightful polyphony on Gerry Mulligan’s call and response Festive Minor. The Cohens create a baroque form here worthy of Johann Sebastian. Anat Cohen’s funky Footsteps & Smiles was introduced on her 2019 tentet album titled Triple Helix. It is a swinging foot-tapping chart featuring each of the Cohens aided and abetted by unidentified WDR performers in some inventive solo choruses.
