Oh Yeah

Editorial Reviews

All Music Guide - Steve Huey
After several sessions with Columbia and Candid, Charles Mingus briefly returned to Atlantic and cut the freewheeling Oh Yeah, which has to rank as the wildest of all his classic albums. Mingus plays no bass whatsoever, hiring Doug Watkins to fill in while he accompanies the group on piano and contributes bluesy vocals to several tracks while shouting encouragement on nearly all of them. Mingus had always had a bizarre sense of humor, as expressed in some of his song titles and arranging devices, but Oh Yeah often gets downright warped. That's partly because Mingus is freed up to vocalize more often, but it's also due to the presence of mad genius Roland Kirk. His chemistry ...
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Editorial Reviews

All Music Guide - Steve Huey
After several sessions with Columbia and Candid, Charles Mingus briefly returned to Atlantic and cut the freewheeling Oh Yeah, which has to rank as the wildest of all his classic albums. Mingus plays no bass whatsoever, hiring Doug Watkins to fill in while he accompanies the group on piano and contributes bluesy vocals to several tracks while shouting encouragement on nearly all of them. Mingus had always had a bizarre sense of humor, as expressed in some of his song titles and arranging devices, but Oh Yeah often gets downright warped. That's partly because Mingus is freed up to vocalize more often, but it's also due to the presence of mad genius Roland Kirk. His chemistry with Mingus is fantastically explosive, which makes sense -- both were encyclopedias of jazz tradition, but given over to oddball modernist experimentation. It's a shame Kirk only spent three months with the band, because his solo interpretations are such symbiotic reflections of Mingus' intent as a composer. Look no further than "Hog Callin' Blues," a stomping "Haitian Fight Song" descendant where Kirk honks and roars the blues like a man possessed. Mingus' vocal selections radiate the same dementia, whether it's the stream-of-consciousness blues couplets on "Devil Woman," the dark-humored modern-day spiritual "Oh Lord Don't Let Them Drop That Atomic Bomb on Me," or the dadaist stride piano bounce of "Eat That Chicken," a nod to Fats Waller's comic novelties. Elsewhere, "Passions of a Man" sounds almost like musique concrète, while "Wham Bam Thank You Ma'am" nicks some Monk angularity and "Ecclusiastics" adds some testifying shouts and a chorale-like theme to Mingus' gospel-jazz hybrid. Oh Yeah is probably the most offbeat Mingus album ever, and that's what makes it so vital. [Some reissues add three bonus tracks from the session, first released on Tonight at Noon.]
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Product Details

  • Release Date: 10/25/1990
  • Label: Atlantic Mod Afw
  • UPC: 075679066725
  • Catalog Number: 90667
  • Sales rank: 110,342

Album Credits

Performance Credits
Charles Mingus Primary Artist, Piano, Vocals
Booker Ervin Tenor Saxophone, Soloist
Rahsaan Roland Kirk Flute, Tenor Saxophone, Multiple Reeds, Stritch, Sirene, Manzello, Soloist, Siren
Jimmy Knepper Trombone
Dannie Richmond Drums
Doug Watkins Bass
Nesuhi Ertegun Track Performer
Technical Credits
Tom Dowd Engineer
Nesuhi Ertegun Producer
Nat Hentoff Liner Notes, Reissue Liner Notes
Phil Iehle Engineer
Geoff Gans Reissue Design
Rachel Gutek Reissue Design
Elizabeth Pavone Editorial Coordinator
Loring Eutemey Cover Art
Daniel Goldmark Editorial Research
Dan Hersh Remastering
John Seabury Illustrations
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