On Mingus’ The Clown, I referred to the composer/bandleader’s ability to balance beauty and chaos. On Oh Yeah, he eschews both the more pleasant side of that balance and his upright bass, leading a sort of post-apocalyptic blues album from piano.

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Given that I’m not entirely sure how to best describe the perfect combination of chaos and beauty that is typical of Charles Mingus’ works, I’ll just leave this video of Haitian Fight Song, the best and most famous of the tracks here. Enjoy.