Both of these albums cycled through my digital music player when I was out and about today. These are starkly different albums and artists - but both apparently concerned with children and/or musical progeny on some level. A few similarities: Mingus played My Funny Valentine and had a group called the "Jazz Workshop." Boards of Canada were influenced by My Bloody Valentine and have a song called "Telephasic Workshop." Regarding children, Mingus criticizes "the kids" for not (or more accurately, young jazz musicians of the time) listening or playing music that reflects the complexity of American society. And Mingus is gonna show 'em how its done! Go get 'em Mingus! (He does, the album is amazing.)In the case, of BOC - perhaps music should be kidnapping children or music should have the right to offspring (derivative works?) or maybe I'm looking to much into this one. Personally, I believe that Whitney Houston is our future. Forget the kids. The Mingus album is predominantly filled with ambitious, dense works and in fact, this is the album he cited as his own favorite. (A few of the compositions were written for his famously aborted Monterey concert in 1965) Released in 1972, I'm pretty sure Let My Children was his first album under a new deal with Columbia. That deal would come to an end shortly thereafter when legendary producer/hitmaker Clive Davis cut Mingus along with the entire Columbia jazz roster, including Ornette Coleman. Only Miles Davis kept his deal. The album contains an incredible version of his piece "The Shoes of the Fisherman's Wife Are Some Jive Ass Slippers" as well "Hobo Ho." Boards of Canada are two brothers from Scotland that make electronic that most readily falls under the IDM category. This record came out on Matador in 1998, 25 years after the Mingus release. (Chemical Bros, Dust Bros, Oribital - tons of brothers, real and fake, in electronic music huh?) Music Has the Right to Children is great for my tastes in electronic music, I'm not all that well versed in the larger genre though. Simple, minimal beats, eerie melodies, incorporates elements of tape music and 70's synth suff. I imagine this to be music that would fit for a soundtrack of William Gibson's book Pattern Recognition. More generally, It's creepy (in a good way) to listen to walking down a deserted street early in the morning with no children around. Now back to Whitney Houston...if you've never seen her famous run-in with Serge Gainsbourg on TV in the 80's where he drunkenly propositions her, treat yourself. And then go check out his album The Ballad of Melody Nelson.