At UCLA 1965

SSC3041 2006-09-26

Track List

Opening Speech - 0:42
Meditation on Inner Peace - 17:57
Speech introducing musicians - 1:41
Meditation on Inner Peace - 0:51
Speech - 0:14
Once Upon a Time, There Was a Holding Corporation Called Old America (1st false start) - 0:08
Lecture to band - 0:27
Once Upon a Time, There Was a Holding Corporation Called Old America (2nd false start) - 1:22
Ode to Bird and Dizzy - 10:18
Speech: call octet back - 0:54
They Trespass The Land of The Sacred Sioux - 7:11
The Arts of Tatum and Freddy Webster - 10:01
Speech - 1:24
Once Upon a Time, There Was a Holding Corporation Called Old America - 11:01
Speech to Lonnie Hillyer - 0:35
Muskrat Ramble - 3:11
Pause - 0:11
Don’t Be Afraid, The Clown’s Afraid Too - 8:21
Don’t Let it Happen Here - 10:53


Jimmy Owens - flugelhorn/trumpet
Lonnie Hillyer - trumpet
Hobart Dotson - trumpet
Charles McPherson - alto saxophone
Julius Watkins - french horn
Howard Johnson - tuba
Charles Mingus - bass/piano
Dannie Richmond - drums

Released 40 years ago but unavailable on CD until today, the title immediately announces the trials and tribulations that led to this extraordinary concert, summing up its original intent (“music written for Monterey”), the failure of that event (“not played”) and the triumphant closing chapter (“performed at UCLA”) which premiered a large body of compositions Mingus had been working on all year for the Monterey Jazz Festival, that found its true audience at a college concert the following week.
It is an unvarnished behind-the-scenes look at the struggle Charles Mingus sometimes faced in his efforts to get his demanding compositions performed. It includes musical confrontations on stage, the difficulties band members experienced with brand new music, his own furies and, ultimately, his refusal to edit out the warts, to tell it like it was. This fearless exposure of the creative process in all its contradictions had led earlier to his concept of the jazz workshops—performances on stage in which the trials and errors of creating music were presented to viewers, unedited. He understood both the fascination for an intelligent audience and the pragmatic reality that by calling his performances workshops, he was able to rehearse his complex works on stage with impunity before a paying audience.


Jazz Times readers select " At UCLA" as one the top five reissues of 2006.
Jazz Times, January 2007
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Rollingstone gives four stars to UCLA
, RollingStone - November 2006
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It's a mess, but the sort of big mess only genius can get itself into. Demonstratign better than anything else in his discography the risks Mingus took in treating improvisation like composition...
Francis Davis, the village VOICE - November 2006
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Two Impressive Souvenirs
All About Jazz, October 2006
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Mingus wrote some of his most ambitious and challenging music for the Monterey Jazz Festival in 1965...
George Kanzler, all.about.jazz - November 2006
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The music itself was something else. It's by turn magnificent, passionateand ungainly, full of snarls, yelps, elegies...
Jeff Simon, THE BUFFALO NEWS - November 2006
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While Mingus is playing piano and shouting out directions... he is holding it all together in a concert filled with theatrics and no shortage of surprises.
John Ephland, DOWNBEAT - December 2006
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Without a doubt this disc is a necessary purchase for those who consider themselves big Mingus fans. Not only does it give a rare inside look at the musician's creative process. It also features Mingus performing songs you simply won't find anywhere else.
Jim Harrginton , The Oakland Tribune - November 2006
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More Reviews from all over the country - December 2006
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