Across the telephone line and
without a verbal introduction,
Charles plays his latest composition
on the piano to friend and critic,
Nat Hentoff, who naturally recognizes
the caller and lets the song come through.

When Mingus switches to vocal chords,
he explains, “I’m trying to play
the truth of what I am … difficult,
because I’m changing all the time.”

To his band in the studio,
he posits a free form structure,
with sparse instructions:

pair how you feel
with a scale
and play.

He shouts approval
or disdain
to the proceedings
and ah ums
when everyone swings.

The composer as preacher; the session
in truth a Wednesday Night Prayer Meeting.
The track documents what’s changing
all the time, one track at a time.