** Rare original copies. Second pressing on Jazz Workshop from the mid '70s (estimated) of this impossible to obtain album, the original issue being available only as a mail-order release. Unplayed copies from a dead-stock, possible wear due to ageing on covers ** On September 25, 1965, at UCLA’s Royce Hall, Charles Mingus took the stage with an octet of some of the most forward-thinking jazz musicians of the era. The occasion was not just any concert, but a determined response to an earlier setback: just days before, at the Monterey Jazz Festival, Mingus had been denied the chance to present his ambitious new suite in full. Refusing to let his music go unheard, he gathered his ensemble and brought the entire program to life for a Los Angeles audience-a performance now immortalized on Music Written For Monterey 1965, Not Heard... Played In Its Entirety At UCLA.

The story behind this recording is as compelling as the music itself. In 1965, Mingus was invited back to Monterey after a triumphant performance the previous year. He arrived with a suite of bold new compositions, ready to push boundaries and challenge expectations. But things didn’t go as planned-his set was cut short, and much of his new work went unheard by the festival crowd. For most musicians, that might have been the end of the story. For Mingus, it was just the beginning.

Determined to share his music in full, Mingus quickly organized a concert at UCLA’s Royce Hall. There, with a handpicked octet featuring some of the era’s most adventurous players-including Charles McPherson, Dannie Richmond, Julius Watkins, and others-he presented the entire suite as he had originally intended. The result is a concert recording that is as raw and unfiltered as it is brilliant. You can hear everything: the false starts, the on-stage instructions, even Mingus’s own voice-sometimes encouraging, sometimes demanding, always passionate. It’s like stepping into the rehearsal room with a master, witnessing the creative process unfold in real time.

Critics and jazz historians have long recognized the importance of this album. It’s been called “an indispensable document” and “a fascinating, sometimes brilliant entry” in Mingus’s discography. The music itself is a journey, moving from moments of deep meditation to bursts of political urgency, always anchored by Mingus’s unmistakable voice as a composer and bandleader. Tracks like “Meditation on Inner Peace” reveal his reflective side, while pieces such as “They Trespass the Land of the Sacred Sioux” show his willingness to confront the social issues of his time head-on. Perhaps most remarkable is the sense of risk and discovery that permeates the entire performance. Mingus’s band-including McPherson, Richmond, Watkins, and others-are pushed to their creative limits, responding to Mingus’s cues and challenges with energy and invention. The recording captures not just the music, but the spirit of experimentation that defined Mingus’s approach. It’s more than just a live album-it’s a living document, an invitation to experience the creative fire of one of jazz’s greatest minds.

Whether you’re a longtime Mingus fan or discovering his music for the first time, Music Written For Monterey 1965, Not Heard... Played In Its Entirety At UCLA is essential listening. It’s a reminder of what jazz can be when an artist refuses to compromise, and a testament to the enduring power of creative freedom.

“All men have a right to freedom on any land... Don’t let it happen here.” – Charles Mingus