Frank Minion's one and only recording is a fascinating window into the world of a jazz performer. Quite cynical and sarcastic toward the jaundiced American view of the jazz life,
Minion minces no words in stating his case, his reasons why, and his conclusions as to the home country of the music so thoroughly dismissing the music he loves. As this project was done back in the late '50s and early '60s, it reflects a syndrome that unfortunately still exists 50 years later. The CD reissue begins with a five-part suite based on the talking points and songs reflecting the vagaries and perceptions of a fictional big city neighborhood, which just as easily could be the reality of renaissance Harlem, references to Atlanta, or perhaps his native Baltimore. The second half features familiar standards with
Minion's original lyrics or vocal lines adapted and extended with
Minion's further remarks. "Introduction to Black Opium Street" has nine total sub-segments centered on the tough life of a jazzman, social issues, relations with women, and inferences to drug use. It is not all that dissimilar to the famous
Charles Mingus poetry piece "Scenes in the City." The title track is a speak-out on squares, "Knowbody Knows" says that
J.C. Heard and
Billie Holiday know what others don't, "Bongo Blues" adopts a pseudo-Latin stance on a cautionary tale of playing the "skins" for cigarettes and pork & beans, while "Things Ain't Like They Used to Went" is an over the top wigged-out shout very similar to
Babs Gonzales. The remainder of the songs are spoken or sung ballads as
Minion is bummed out about a "brother" in "Salaam My Child," plays the sad clown in "Laughing Boy," and espouses hip bluesy jargon of the day in "Later."
Roland Alexander's tenor sax and especially flute playing, and the emerging pianist
Tommy Flanagan, stand out. Three cuts with the
Bill Evans trio that worked with
Miles Davis show
Minion's ability to stretch familiar themes, and comprise his most vibrant work. His clever melding of "All Blues" and "Flamenco Sketches" is a love plea, including the self-deprecating phrase "Hey flamenco, I bet you think I am stinko." "'Round Midnight" expresses the same romantic sentiment as the original with a slightly added-on lyric, while "So What" is a completely different line, incorporating a theme of reaching out for help. The remaining two tracks, originals of
Minion, have his voice in a distant thin echo. "Watermelon" is a Latin-ish shoutin' blues, while the statement "You I Love" precludes 36 lines of pleading calypso-fired rhythms in different keys, accented by an occasional
Mickey & Sylvia "Love Is Strange" rock & roll phrase from guitarist
Kenny Burrell. A time capsule of male post-vocalese jazz, and a tone parallel to
Babs Gonzales without the histrionics or comedic rapport,
Minion's lone statement is a very good one, and all should be glad it is finally available again.