JANUARY 20

                     CHARLES MINGUS

               The Black Saint & the Sinner Lady

                     Recording Date:  
                          January 20, 1963
                   
                     Personnel:
                          Jay Berliner          G
                          Don Butterfield      TU
                          Jaki Byard             P
                          Rolf Ericson           TP 
                          Dick Hafer             FT, TS
                          Quentin Jackson     TB
                          Charlie Manano      AS 
                          Charles Mingus       B, P
                          Jerome Richardson FT,SS, BS  
                          Dannie Richmond   D
                          Richard Williams    TP  
                                                                             
LINK Retired       
                                                     

Review by Steve Huey
The Black Saint and the Sinner Lady is one of the greatest achievements in orchestration by any composer in jazz history. Charles Mingus consciously designed the six-part ballet as his magnum opus, and — implied in his famous inclusion of liner notes by his psychologist — it's as much an examination of his own tortured psyche as it is a conceptual piece about love and struggle. It veers between so many emotions that it defies easy encapsulation; for that matter, it can be difficult just to assimilate in the first place. Yet the work soon reveals itself as a masterpiece of rich, multi-layered texture and swirling tonal colors, manipulated with a painter's attention to detail. There are a few stylistic reference points — Ellington, the contemporary avant-garde, several flamenco guitar breaks — but the totality is quite unlike what came before it. Mingus relies heavily on the timbral contrasts between expressively vocal-like muted brass, a rumbling mass of low voices (including tuba and baritone sax), and achingly lyrical upper woodwinds, highlighted by altoist Charlie Mariano. Within that framework, Mingus plays shifting rhythms, moaning dissonances, and multiple lines off one another in the most complex, interlaced fashion he'd ever attempted. Mingus was sometimes pigeonholed as a firebrand, but the personal exorcism of Black Saint deserves the reputation — one needn't be able to follow the story line to hear the suffering, mourning, frustration, and caged fury pouring out of the music. The 11-piece group rehearsed the original score during a Village Vanguard engagement, where Mingus allowed the players to mold the music further; in the studio, however, his exacting perfectionism made The Black Saint and the Sinner Lady the first jazz album to rely on overdubbing technology. The result is one of the high-water marks for avant-garde jazz in the '60s and arguably Mingus' most brilliant moment.