In Argentina: The Buenos Aires Concerts

Released in time for Record Store Day 2025, the two-disc Mingus in Argentina: The Buenos Aires Concerts is issued officially for the first time, offering two concerts on Minguss South American tour. Documentation about this quintet -- with saxophonist Ricky Ford, trumpeter Jack Walrath, pianist Robert Neloms, and drummer Dannie Richmond -- while not absent is somewhat scarce. Produced by Zev Feldman, it was recorded by late Argentine engineer Carlos Melero and painstakingly remastered from original tapes by Matthew Lutthans. Following an introduction, they deliver a seven-and-a-half-minute swinging dirge in "Goodbye Pork Pie Hat." It contains a killer blues solo from Walrath as the band careens into early New Orleans jazz, swing, and back. Neloms sensitive solo grounds the proceeding, then gives way to an elegant, graceful "Duke Ellingtons Song of Love" with soulful soloing from Ford as Neloms, Mingus, and Richmond engage in harmonic interplay, laying under then stretching the time. Following the pianists classy, harmonically rich solo, he bids Walrath to take one and offers buoyant support as the trumpeter delivers in spades. The ten-minute "Three or Four Shades of Blues" is rendered with more space with this guitar-less lineup. One of Mingus great gifts was in being able to notate in great, sometimes obsessive detail -- jazz history via vamps, tiny accents, turnarounds, harmonic asides, and much more. Here, they careen across progressive jazz, swing, and New Orleans, hard bop, modal, and vanguard jazz, with gospel and blues added for measure. Neloms and Mingus engage in a knotty joint break that gives way to their articulation of gospel and parlor music swinging and quoting from bop, swing, and Miles Davis "All Blues" before moving outside. This version of "For Harry Carney" (from Changes Two) is moodier and more dramatic than the studio read. The interplay between Walrath and Ford is snaky as Neloms and Mingus lay down a hypnotic vamp that Richmond dances around and through as Ford punctuates the turnarounds, before the band indulges in fiery improvisation. The sets highlight is the 22-minute "Cumbia and Jazz Fusion" that effortlessly folds in Mexican folk traditions from cumbia, mariachi, and banda as the quintet delves into and unearths hidden harmonic details in their extended improvisation. Disc two is initiated by an incomplete and raucous rendition of "Sues Changes." Missing its first three-plus minutes, it indulges the bands rowdiest playing. This version of "Fables of Faubus" juxtaposes expansive harmony with driving hard bop that swings like mad. Further, Minguss solo is a finger-popping wonder. Both sets end with the bandleader offering his own short piano improvisations. The booklet for Mingus in Argentina: The Buenos Aires Concerts contains rare photos and a program reproduction with liner essays by Brian Priestley, author of Mingus: A Critical Biography, and journalist/critic Carlos Parrisi, who attended and reviewed the show, and reminiscences by Walrath and Ford, the quintets last surviving members. For Mingus fans, this is an essential document to pour over and absorb, underscoring his jazz mastery to the end. ~ Thom Jurek