Jasmine’s illuminating overview of Mingus’ studio life covers it from its earliest beginnings in Los Angeles to his late-period encounter with Duke Ellington and Max Roach in 1962. Arguably from Charles Mingus, the jobbing bass player, to ‘Mingus’ the ‘enfant terrible’ and turbulent jazz progressive. As can be seen above, the album’s 26 tracks embrace a diversity of paid employment whose variety confirms his status as both a through-going professional and figure of consequence.

By early 1945, the date of his debut on record on trumpeter Russell Jacquet’s ‘Penny Worth of Boogie’ for the Globe label, Mingus had already studied with Red Callender, worked with Kid Ory in Barney Bigard’s combo and toured briefly with Louis Armstrong’s big band, ahead of his acceptance among the Central Avenue regulars, these including McGhee and vocalist Andrews among others. If the Jacquet track is jump-jive, then that was the lingua franca of the day, Mingus’ propulsive bass line well heard alongside Teddy Edwards playing alto and drummer Chico Hamilton. McGhee’s ‘Deep Meditation’ has Edwards on tenor, while ‘Swingin’ an Echo’, an early boppish piece by his Sextette, with Mingus (naturally) at its forefront, confirms both his agility and powerful drive, qualities heard brilliantly on Dinah Washington’s wonderful blues.

By 1947, Mingus was on the road with Hampton, featured at length alongside bassist Joe Comfort on his own ‘Mingus Fingers’, and still picking up extra dates around LA. Joining Red Norvo’s quick-fingered trio in 1950 put him more firmly on the jazz map, his mobility on ‘Move’ a standout.

From then on, the Mingus mystique continued to grow, his instrumental prowess and compositional risk-taking placing him firmly among the modern jazz elite. That, though, is a whole other story. Meanwhile, listen to him on J&K’s splendid ‘What Is This Thing Called Love’, sturdy and swinging for just one unbeatable glimpse into 17 years of this jazz compulsive’s musical life and times.