Oh Yeah isn't a record that's driven by Mingus' bullish bass playing, though - he sticks to piano throughout, harking back to blues and boogie woogie whilst forging forward into some of his most avant-garde material yet. Responsibility for the latter is shared by the main reedsman on this set - Roland (not yet Rahsaan) Kirk brings his collection of rare and bespoke horns to the table and launches the material, not least the opening and closing tracks here, into an arena of skronking weirdness that was at least half a decade ahead of its time, and still sounds as fresh and vital as ever.
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