Profile of Charles Mingus on Famous Like Me

Charles Mingus (April 22, 1922 - January 5, 1979) was an American jazz bassist, composer, bandleader, and occasional pianist. He is also known for his activism against racial segregation.

Mingus's legacy is enormous: he is generally ranked among the finest jazz composers and performers ever. Many Mingus albums are easily available; most are highly regarded. Dozens of musicians passed through his bands and later went on to impressive careers. His songs – though melodic and distinctive – are not often recorded by later musicians, due in part to their challenging nature. Mingus was also influential and creative as a bandleader, recruiting talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations.

Mingus is nearly as well known for his volatile temperament as for his ambitious music. His refusal to compromise his musical integrity led to many onstage explosions, though it has been argued that his temper grew also from his desire to vent frustration. Ironically, a perfect show could irritate him by closing this outlet.

Mingus was prone to depression (possibly manic depression). He tended to have brief periods of extreme creative activity, intermixed with fairly long periods of greatly decreased output.

Most of Mingus's music retained the hot and soulful feel of hard bop, and drew heavily from black gospel music while sometimes drawing on elements of Third Stream Jazz and free jazz. Yet Mingus avoided categorization, forging his own unique brand of music that fused tradition with unique and unexplored realms of jazz. Mingus focused on collective improvisation, similar to the old New Orleans Jazz parades, he paid particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. He strived to create unique music to be played by unique musicians.

Mingus is often considered the heir apparent to Duke Ellington, for whom he expressed unqualified admiration. In the early 1950s, before attaining commercial recognition as a bandleader, he played a number of live bookings with Charlie Parker, whose compositions and improvisations greatly inspired and influenced Mingus. Mingus considered Parker the greatest genius and innovator in jazz history, but he had a love-hate relationship with Parker's legacy. Mingus blamed the Parker mythology for a derivative crop of pretenders to Parker's throne. He was also conflicted and sometimes disgusted by Parker's self-destructive habits and the romanticized lure of drug addiction they offered to other jazz musicians.

Early life

Mingus was born in Nogales, Arizona, but raised largely in the Watts area of Los Angeles, California.

His mother allowed only church-related music in their home, but Mingus developed an early love for jazz, especially Ellington's music. He studied trombone, and later cello. Much of the cello technique he learned was applicable to double bass when he took up the instrument in high school.

Even in his teen years, Mingus was writing a considerable number of rather advanced pieces; many are similar to Third Stream Jazz. A number of them were recorded in 1960 with conductor Gunther Schuller, and released as Pre-Bird.

Early career

Mingus gained a reputation as something of a bass prodigy, and toured with Louis Armstrong in 1943, then played with Lionel Hampton's band in the late 1940s: Hampton performed and recorded a few of Mingus's pieces. A popular trio with Red Norvo and Tal Farlow in 1950 and 1951 received considerable acclaim.

Mingus was briefly a member of Ellington's band in the early 1950s, and Mingus's notorious temper reportedly led to his being the only musician personally fired by Ellington.

In 1952 Mingus cofounded Debut Records with Roach, in order to conduct his recording career as he saw fit. After bassist Oscar Pettiford broke his arm playing baseball, Mingus stepped in to replace him at the famed 1953 "Jazz At Massey Hall" concert. He joined Dizzy Gillespie, Charlie Parker, Bud Powell and Max Roach in what was to be the last recorded meeting of the two lead instrumentalists.

Unfortunately, Mingus was not then familiar with the bebop repertory, and choose to overdub his, under recorded, bass part after the event. Two 10" albums of the Massey Hall concert-one featured the trio of Powell, Mingus and Roach-were among Debut's earliest releases. Mingus may have objected to the way the major record companies treated musicians, but Gillespie once commented that he did not receive any royalties "for years and years" for his Massey Hall appearance. The records though, are often regarded as among the finest live jazz recordings.

In 1955, Mingus was involved in a notorious incident while playing a club date billed as a "reunion" with Parker, Powell, and Roach. Powell, who had suffered from alcoholism and mental illness for years (potentially exacerbated by a severe police beating and electroshock treatments), had to be helped from the stage, unable to play or speak coherently. As Powell's incapacitation became apparent, Parker stood in one spot at a microphone, chanting "Bud Powell...Bud Powell..." as if beseeching Powell's return. Allegedly, Parker continued this incantation for several minutes after Powell's departure, to his own amusement and Mingus's exasperation. Mingus took another mike and announced to the crowd, "Ladies and gentlemen, please don't associate me with any of this. This is not jazz. These are sick people." Roughly a week later, Parker died from the massive complications of years of drug abuse.

Pithecanthropus Erectus

Mingus had already recorded about ten albums as a bandleader, but 1956 was a breakthrough year, with the release of Pithecanthropus Erectus – arguably his first major work as both a bandleader and composer. Like Ellington, Mingus wrote songs with specific musicians in mind, and his band for Erectus included adventurous, though distinctly blues-oriented musicians, especially saxophonist Jackie McLean and piano player Mal Waldron. The title song is a ten minute tone poem, depicting the rise of man from his hominid roots (Pithecanthropus Erectus) to an eventual downfall. A section of the piece was improvised free of structure or theme.

Another album for Atlantic, The Clown (1957) was the first to feature drummer Dannie Richmond. Richmond played with Mingus for the next twenty years, until the bassist's death. He and Mingus formed one of the most impressive and versatile rhythm sections in jazz. Both were accomplished performers seeking to stretch the boundaries of their music while staying true to its roots. When joined by pianist Jaki Byard, they were dubbed "The Almighty Three".

The following decade is widely regarded as Mingus's most productive and fertile era. Impressive new compositions and albums appeared at an astonishing rate: Some thirty records in ten years, for a number of record labels (Debut, Candid, Impulse Records and others), a pace perhaps unmatched by any musician or group, excepting Ellington.

Mingus often worked with a mid-sized ensemble (around 8-10 members) of rotating musicians known as the Jazz Workshop. Mingus broke new ground, constantly demanding that his musicians be able to explore and develop their perceptions on the spot. Those tapped to join the Workshop (or Sweatshops as they were colorfully dubbed by the musicians) were skilled musicians yearning for a taste of the big time. Mingus shaped these promising novices into a cohesive improvisational machine that in many ways anticipated free jazz.

Jazz Workshop members included:

• Pepper Adams
• Jaki Byard
• Eric Dolphy
• Booker Ervin
• Rahsaan Roland Kirk
• Jimmy Knepper
• John Handy
• Jackie McLean
• Charles McPherson
• Horace Parlan

Only one misstep occurred in this era: 1962's Town Hall Concert. An ambitious program, it was unfortunately plagued with troubles from its inception. Mingus' vision was finally realized in 1989, see Epitaph (Mingus).

Charles Mingus Presents Charles Mingus

Mingus witnessed Ornette Coleman's legendary – and controversial – 1960 appearances at New York City's Five Spot jazz club.

Though he initially expressed rather mixed feelings for Coleman's innovative music, Mingus was in fact a prime influence of the early free jazz era. He formed a quartet with Richmond, trumpeter Ted Curson and saxophonist Eric Dolphy. This ensemble featured the same instruments as Coleman's quartet, and is often regarded as Mingus rising to the challenging new standard established by Coleman. Charles Mingus Presents Charles Mingus – the quartet's sole album – is frequently included among the finest in Mingus's catalogue.

The Black Saint and the Sinner Lady

In 1963, Mingus released The Black Saint and the Sinner Lady, a sprawling, multi-section masterpiece, described as "one of the greatest achievements in orchestration by any composer in jazz history." The album was also unique in that Mingus asked his psychotherapist to provide notes for the record.

1963 also saw the release of an unaccompanied album Mingus Plays Piano. His piano technique – though capable and expressive – was somewhat unrefined when compared to, perhaps, Ahmad Jamal or other contemporary jazz pianists, but the album is still generally well regarded. A few pieces were entirely improvised and drew on classical music as much as jazz, preceding Keith Jarrett's landmark The Köln Concert in that regard by some twelve years.

In 1964 Mingus put together one of his best-known groups, a sextet including Dannie Richmond, Jaki Byard, Eric Dolphy, trumpeter Johnny Coles, and tenor saxophonist Clifford Jordan. The group was recorded frequently during its short existence; Coles fell ill during a European tour.

Changes

Mingus's pace slowed somewhat in the late 1960s and early 1970s. In 1974 he formed a quintet with Richmond, pianist Don Pullen, trumpeter Jack Walrath and saxophonist George Adams. They recorded two well-received albums, "Changes One" and "Changes Two".

Cumbia and Jazz Fusion in 1976 sought to blend Colombian Cumbia with more traditional jazz forms.

Later career

By the mid-1970s, Mingus was suffering from Amyotrophic lateral sclerosis (popularly known as Lou Gehrig's disease), a wastage of the musculature. His once formidable bass technique suffered, until he could no longer play the instrument. He continued composing, however, and supervised a number of recordings before his death.

He died in Cuernavaca, Mexico, where he had traveled for treatment and convalescence, and his ashes were scattered in the Ganges River.

After his death

At the time of his death, Mingus had been recording an album with singer Joni Mitchell, which included vocal versions of some of his songs (including "Goodbye Pork Pie Hat") among Mitchell originals and short, spoken word duets and home recordings of Mitchell and Mingus. To show how important his influence was on the jazz world, this album also featured Jaco Pastorius, a similarly self-destructive bassist.

The music of Charles Mingus is currently being performed and reinterpreted by the Mingus Big Band, which plays every Tuesday and Thursday in New York City, and often tours the rest of the United States and Europe. Elvis Costello has written lyrics for a few Mingus pieces and has sung them in performances with the Mingus Big Band. Other tribute bands are also active around the US, including Mingus Amungus in the San Francisco Bay Area.

Bass players continue to revere Mingus and his work, as exemplified by Pat Kays, the bassist of third-wave ska band Catch 22, who took the name Mingus as his nickname.

A documentary film by Ray Davies entitled Weird Nightmare was released in 1991. It contains footage of Mingus and interviews with artists making Hal Willner's tribute album of the same name, including Elvis Costello, Charlie Watts, Keith Richards, and Vernon Reid.

Mingus's temper

As respected as Mingus was for his musical talents, he was often feared for his sometimes violent onstage temper, which was at times directed at members of his band, and other times aimed at the audience. He was physically large – prone to obesity, especially in his later years – and was by all accounts often intimidating and frightening when expressing anger or displeasure.

When confronted with a nightclub audience talking and clicking ice in their glasses while he performed, Mingus stopped his band and loudly chastised the audience, stating "Isaac Stern doesn't have to put up with this shit" . He once played a prank on a similar group of nightclub chatterers by silencing his band for several seconds, allowing the loud audience members to be clearly heard, then continuing as the rest of the audience snickered at the oblivious 'soloists'. While onstage at a memorial concert he reportedly attempted to crush his pianist's hands with the instrument's keyboard cover, then punched trombonist Jimmy Knepper in the mouth. Jackie McLean once stabbed Mingus after Mingus punched him, fearing the bassist was about to kill him. Mingus' onstage destruction of an $800 bass prompted British rockers The Animals – avid fans who witnessed Mingus's characteristic explosion at a London show – to emulate the outburst, starting a trend of rampant destruction of musical equipment in 'rock theater' popularized by Jimi Hendrix and The Who, which continues to this day.

Epitaph

Epitaph (Mingus) is the master work of Charles Mingus. It is a composition which is more than 4000 measures long, requires two hours to perform and was only completely discovered during the cataloguing process after his death. With the help of a grant from the Ford Foundation, the score and instrumental parts were copied, and the piece itself was premiered by a 30-piece orchestra, conducted by Gunther Schuller. This concert was produced by Mingus' widow, Sue, at Alice Tully Hall on June 3, 1989, ten years after his death.

Samples

• Download sample of "Fables of Faubus"

Partial discography

Major works include:

• Pithecanthropus Erectus (1956, Atlantic)
• The Clown (1957, Atlantic)
• Blues and Roots (1959, Atlantic)
• Mingus Ah Um (1959, Columbia)
• Mingus Dynasty (1959, Columbia)
• Pre Bird (1960, Mercury)
• Charles Mingus Presents Charles Mingus (1960, Candid)
• Oh Yeah (1962, Atlantic)
• The Black Saint and the Sinner Lady (1963, Impulse)
• Mingus Plays Piano (1963, Impulse)
• Mingus Mingus Mingus Mingus Mingus (1963, Impulse)
• Let My Children Hear Music (1972, Columbia)
• Changes One (1974, Atlantic)
• Changes Two (1974, Atlantic)
• Cumbia & Jazz Fusion (1976, Atlantic)
• Epitaph (1990, Columbia, posthumous)

Of these, Mingus Ah Um, Blues and Roots, and The Black Saint and the Sinner Lady are arguably his best works.

Cover versions

Considering the number of compositions that Charles Mingus has written, his works have not been recorded as often as comparable jazz composers. Of all his works, his elegant elegy for Lester Young, "Goodbye Porkpie Hat" (from Mingus Ah Um) has probably had the most recordings. Besides recordings from the expected jazz artists, the song has also been recorded by Jeff Beck, and Joni Mitchell sang a version with lyrics that she wrote for the song.

Books on Charles Mingus

• His autobiography, 'Beneath the Underdog', presents a vibrantly boastful and possibly apocryphal account of his early career as a pimp.
• "Myself When I Am Real: The Life and Music of Charles Mingus" by Gene Santoro, Oxford University Press (November 1, 2001), 480 pages, ISBN 0195147111
• "Mingus: A Critical Biography" by Brian Priestley, Da Capo Press (April 1, 1984), 340 pages, ISBN 0306802171
• "Tonight At Noon: A Love Story" by Sue Graham Mingus, Da Capo Press; Reprint edition (April, 2003), 272 pages, ISBN 0306812207. Written by his widow.
• "Charles Mingus - More Than a Fake Book" by Charles Mingus, Hal Leonard Corporation (November 1, 1991), 160 pages, ISBN 0793509009. Includes 2 CDs, photos, discography, music transcriptions, a Mingus comic book promoting his anti-bootlegging project, etc.
• "Mingus/Mingus : Two Memoirs" by Janet Coleman, Al Young, Limelight Editions (August 1, 2004), 164 pages, ISBN 0879101490

Movie Links

• In 1959, Mingus provided the music for John Cassavetes's gritty New York City film, "Shadows."
• "Charles Mingus: Triumph of the Underdog" is a 78 minutes long documentary film on Charles Mingus directed by Don McGlynn and released in 1998.

The quotable Mingus

Always outspoken and genuine, often confrontational, Mingus was always one of the most quotable musicians of his or any era. Some of the comments attributed to him follow:

“If someone has been escaping reality, I don’t expect him to dig my music.”

“Tastes are created by the business interests. How else can you explain the popularity of Al Hirt?”

“Had I been born in a different country or had I been born white, I am sure I would have expressed my ideas long ago. Maybe they wouldn’t have been as good because when people are born free–I can’t imagine it, but I’ve got a feeling that if it’s so easy for you, the struggle and the initiative are not as strong as they are for a person who has to struggle and therefore has more to say.”

“Anyone can make the simple complicated. Creativity is making the complicated simple.”

“Just because I’m playing jazz I don’t forget about me. I play or write me the way I feel through jazz, or whatever. Music is, or was, a language of the emotions.”

“They’re singing your praises while stealing your phrases.”

“In my music, I’m trying to play the truth of what I am. The reason it’s difficult is because I’m changing all the time.”

“Let my children have music! Let them hear live music. Not noise. My children! You do what you want with your own!”

“I’m too busy playing. When I’m playing I don’t pay attention to who’s listening. When I was listening I listened to symphony orchestras, Beethoven, Bach, Brahms, Stravinsky. You don’t listen to one instrument; you listen to music.”

“Most customers, by the time the musicians reach the second set, are to some extent inebriated. They don’t care what you play anyway.”

“I always wanted to be a spontaneous composer.”

“Most of the soloists at Birdland had to wait for Parker’s next record in order to find out what to play next. What will they do now?”

“I, myself, came to enjoy the players who didn’t only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around.”

“It (jazz) isn’t like it used to be. The guys aren’t together. They’re all separated. Individuals now. Bird was a symbol. It was a clique, a clique of people. Who all believed in one thing: gettin’ high. And playin’.”

“That sound in tune to you? Sounds sharp to me. Sounds like I’m playing sharp all the time. My singing teacher told us you should do that. Maybe I got it from her. She said singers when they grow old have a tendency to go flat. So if you sing sharp as a young person, as you get older and go flat, you’ll be in tune. In other words, it’s never thought good to be flat. It means you can’t get to the tone.”

“Good jazz is when the leader jumps on the piano, waves his arms, and yells. Fine jazz is when a tenorman lifts his foot in the air. Great jazz is when he heaves a piercing note for 32 bars and collapses on his hands and knees. A pure genius of jazz is manifested when he and the rest of the orchestra run around the room while the rhythm section grimaces and dances around their instruments.”

This content from Wikipedia is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article Charles Mingus