I don´t know the cover, but is this the original BN, the one with Milt Jackson, John Simmons, Shadow Wilson and on two tracks Kenny Hagood ? I mentioned it earlier as an example of terrible weak recording quality, where you almost don´t hear the drums, I mean it seemed to be very very rudimentary recorded, you don´t hear Shadow Wilson´s specific cymbal sound and snare sound, some very essential trademarks of his playing.
He was very depressed about Coltrane, Cannonball, Evans and even his rhythm section leaving him.
He was also envious of their success. He used to make fun of Cannonball's hit on Mercy, Mercy Mercy" Miles used to call it "Country Joe"!!!!! LOL!
The strange thing is, that usually if you have played for a time with a big jazz legend, you made it, you got your own band, your own record contract and everything, like all of the Ex-Miles-Men, and the Ex Blakey Men, and of course dozens of ex Mingus-Men, but it was not the case for the men who played with Mingus when I saw Mingus: Neither Walrath, neither Ford, nor Bob Neloms became big names in jazz, well Muse was a hard to find label in most European contries I must admit..... but my impression was that it concentrated on lesser well paid acoustic jazz men in the 70´s, maybe I´m wrong but that´s how I thought about it back then......
what etnic background was Walrath ? He looks a bit like a south of the border kind of type..... they said he is white and that black militants got on Mingus´ case why he booked a white player in an all black band, but he looks like he might have had another etnic background....