Touch my beloved’s thought while her world’s affluence crumbles at my feet.

Charles Mingus - 'Medley: Mode D-Trio and Group Dancers/Mode-E Single solo and Group Dance/Mode-F Group and Solo Dance' (The Black Saint and the Sinner Lady - 1963)

The final track, part, medley¹ of Charles Mingus’ landmark 1963 album The Black Saint and The Sinner Lady is one of those closers that take up a whole vinyl side. It clocks in at 18 minutes long and comprises three parts; ‘Mode D - Trio and Group Dancers’, ‘Mode E - Single Solo and Group Dance’, and ‘Mode F - Group and Solo Dance’. It is a continuous piece of music, divided into that fashion, as each of the four “tracks” on the album are modes with a different mood or flavour. As the album was partially written as a ballet, they all have names and combinations of “dances” that give the game away in terms of what to expect; they tell us if this section consists of a solo, duet or group piece. It’s a bit like Neneh Cherry announcing the hi-hat and cymbals on ‘Buffalo Stance’. The final medley sees more interplay, with switches between group, solo and trios happening more often and playfully.

The Black Saint and The Sinner Lady is one of the most revered avant-garde jazz albums of all time, with flashes of that Third Stream signature of classical, jazz and even flamenco mixed in with the overall avant-garde direction of the pieces. Though intricate and flamboyant, despite the very worthy merits of Mingus Ah Hum and Mingus^5, it is a high watermark in his career with these diverse musical elements being shaped by his vision into a cohesive, emotionally resonant whole. Mingus, a virtuoso bassist and a visionary composer, conceived the album as a continuous composition. This bold endeavour set it apart from most jazz albums of this era. The medley, which occupies the album's core, showcases his innovative approach to composition and sees the players create a sound that was both ahead of its time and deeply rooted in the jazz tradition.

Recorded during a period of intense creativity and personal reflection for Mingus, this medley nails the landing of the record’s thematic and musical ambitions by summing them up and playing them out within its microcosm., blending orchestrated jazz, classical influences, and avant-garde techniques to

The recording of this medley was a meticulously planned affair, with Mingus employing a larger ensemble of eleven, a unit that size was not typical for jazz recordings of the era. The ensemble included a range of instruments not commonly associated with jazz, such as guitar and timpani, alongside more traditional elements like saxophones, trombones, and piano. This diverse instrumentation set-up allowed Mingus to explore a broader sonic landscape, from the intimate and introspective to the grandiose and exuberant. Mingus's direction during the recording sessions was exacting and inspirational, pushing the musicians to inhabit the music’s emotional depths and express its nuanced dynamics and textures. He has called the album ethnic folk-dance music, and there are flecks of Spanish and African music throughout to back this up.

‘Mode D’ begins with an evocative blend of piano, brass and bass, setting the stage for the medley with its reflective, almost introspective mood. This segues into ‘Mode E’, where the tempo quickens and the mood shifts, showcasing Mingus's ability to launch narratives through instrumental music that still makes us feel and emote. ‘Mode F’ brings the medley to a climactic, loud and chaotic conclusion, with the entire ensemble coming together in a powerful expression of collective virtuosity and emotional intensity.

The medley, and indeed the album as a whole, could be seen as Mingus's commentary on the human condition, reflecting his struggles, aspirations, and the broader social context of the time. The civil rights movement was gaining momentum in the United States, and Mingus, conscious of his era's social and political undercurrents, infused his music with a sense of urgency at a time when empathy and understanding were very much needed.

In the context of Mingus's oeuvre, The Black Saint and the Sinner Lady, particularly this closing medley, represents a seismic artistic achievement. It showcases not only his mastery of orchestration, his deep understanding of the jazz idiom, and his unyielding commitment to emotional authenticity. Mingus's influence on jazz and modern music cannot be overstated; it is worth remembering that almost everything we refer to as rock music didn’t exist at the time of this record. Rock ‘n’ roll was still laying down foundations, but short of the first albums by Bob Dylan, The Beatles and The Beach Boys and a handful of early recordings by The Rolling Stones, there wasn’t enough of it to fill an afternoon.

It is in this context that the legacy of The Black Saint and the Sinner Lady could be seen in terms of setting a precedent for musical innovation, emotional expression, and genre fusion that would become hallmarks of various movements within rock music and beyond. It is on the final medley that the work really emphasises the importance of individual expression within a collective framework, a concept that of course would resonates with many rock bands as the genre pushed into the idea of showcasing guitar, bass, drum and other instruments as well as the power of the collective working together in an unshowy fashion. Not only that, Mingus's work challenged and expanded the boundaries of jazz, opening doors for future cross-pollination with rock and other musical forms.

1. Delete as you feel appropriate, I’m going to stick with medley for the rest of the piece.