“For sheer range of expression, Mingus’ work has few equals in postwar American music: furious and tender, joyous and melancholy, grave and mischievous, ecstatic and introspective. It moves from the rap­ture of the church to the euphoria of the ballroom, from accusation to seduction, from a whisper to a growl, often by way of startling jump cuts and sudden changes in tempo.” (Adam Shatz, “An Argument With Instruments: On Charles Mingus” – The Nation, 9.17.2013)