Coordinates | 43°34′29″N116°33′49″N |
---|---|
name | Charles Mingus |
background | non_vocal_instrumentalist |
birth name | Charles Mingus Jr. |
born | April 22, 1922 US Army Base in Nogales, Arizona |
died | January 05, 1979Cuernavaca, Mexico |
origin | Los Angeles, California |
instrument | Double bass, piano, cello, trombone |
genre | Bebop, avant-garde jazz, post-bop, third stream |
occupation | Bassist, composer, bandleader |
years active | 1943–1979 |
label | Atlantic, Candid, Columbia, Debut, Impulse!, Mercury, United Artists |
website | MingusMingusMingus.com |
notable instruments | }} |
Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an American jazz musician, composer, bandleader, and civil rights activist.
Mingus's compositions retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third stream, free jazz, and classical music. Yet Mingus avoided categorization, forging his own 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, paying 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. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations. As a performer, he was a pioneer in double bass technique.
Nearly as well known as his ambitious music was Mingus' often fearsome temperament, which earned him the nickname "The Angry Man of Jazz." His refusal to compromise his musical integrity led to many on-stage eruptions, exhortations to musicians, and dismissals.
Because of his brilliant writing for mid-size ensembles—and his catering to and emphasizing the strengths of the musicians in his groups—Mingus is often considered the heir apparent to Duke Ellington, for whom he expressed great admiration. Indeed, Dizzy Gillespie had once claimed Mingus reminded him "of a young Duke", citing their shared "organizational genius."
Although Mingus' music was once believed to be too difficult to play without Mingus' leadership, many musicians play Mingus compositions today, from those who play with the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra, to the high school students who play the charts and compete in the Charles Mingus High School Competition.
In 1988, a grant from the National Endowment for the Arts made possible the cataloging of Mingus compositions, which were then donated to the Music Division of the New York Public Library for public use. In 1993, The Library of Congress acquired Mingus's collected papers—including scores, sound recordings, correspondence and photos—in what they described as "the most important acquisition of a manuscript collection relating to jazz in the Library's history".
His mother allowed only church-related music in their home, but Mingus developed an early love for jazz, especially the music of Duke Ellington. 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. He studied five years with H. Rheinshagen, principal bassist of the New York Philharmonic, and compositional techniques with Lloyd Reese. Throughout much of his career, he played a bass made in 1927 by the German maker Ernst Heinrich Roth.
Beginning in his teen years, Mingus was writing quite advanced pieces; many are similar to Third Stream because they incorporate elements of classical music. A number of them were recorded in 1960 with conductor Gunther Schuller, and released as Pre-Bird, referring to Charlie "Bird" Parker; Mingus was one of many musicians whose perspectives on music were altered by Parker into "pre- and post-Bird" eras.
Mingus gained a reputation as a bass prodigy. His first major professional job was playing with former Ellington clarinetist Barney Bigard. He toured with Louis Armstrong in 1943, and by early 1945 was recording in Los Angeles in a band led by Russell Jacquet and which also included Teddy Edwards, Maurice Simon, Bill Davis and Chico Hamilton, and in May that year, in Hollywood, again with Teddy Edwards, in a band led by Howard McGhee. He then played with Lionel Hampton's band in the late 1940s; Hampton performed and recorded several of Mingus's pieces. A popular trio of Mingus, Red Norvo and Tal Farlow in 1950 and 1951 received considerable acclaim, but Mingus' mixed origin caused problems with club owners and he left the group. Mingus was briefly a member of Ellington's band in 1953, as a substitute for bassist Wendell Marshall. Mingus's notorious temper led to him being one of the few musicians personally fired by Ellington (Bubber Miley and drummer Bobby Durham are among the others), after an on-stage fight between Mingus and Juan Tizol.
Also in the early 1950s, before attaining commercial recognition as a bandleader, Mingus played gigs with Charlie Parker, whose compositions and improvisations greatly inspired and influenced him. 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. In response to the many sax players who imitated Parker, Mingus titled a song, "If Charlie Parker were a Gunslinger, There'd be a Whole Lot of Dead Copycats" (released on Mingus Dynasty as "Gunslinging Bird").
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 suffered from alcoholism and mental illness (possibly 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' exasperation. Mingus took another microphone and announced to the crowd, "Ladies and gentlemen, this is not jazz; these are very sick men." This was Parker's last public performance; about a week later he died after years of substance abuse.
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 who joined the Workshop (or Sweatshops as they were colorfully dubbed by the musicians) included Pepper Adams, Jaki Byard, Booker Ervin, John Handy, Jimmy Knepper, Charles McPherson and Horace Parlan. Mingus shaped these musicians into a cohesive improvisational machine that in many ways anticipated free jazz. Some musicians dubbed the workshop a "university" for jazz.
Mingus had already recorded around ten albums as a bandleader, but 1956 was a breakthrough year for him, 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, piano player Mal Waldron, alto saxophonist Jackie McLean and the Sonny Rollins-influenced tenor of J. R. Monterose. 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 free improvisation, free of structure or theme.
Another album from this period, The Clown (1957 also on Atlantic Records), with an improvised story on the title track by humorist Jean Shepherd, was the first to feature drummer Dannie Richmond. Richmond would be his preferred drummer until Mingus's death in 1979. The two men 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".
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: "...if the free-form guys could play the same tune twice, then I would say they were playing something...Most of the time they use their fingers on the saxophone and they don't even know what's going to come out. They're experimenting." 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 was the quartet's only album.
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's vision, now known as Epitaph, was finally realized by conductor Gunther Schuller in a concert in 1989, 10 years after Mingus's death.
1963 also saw the release of an unaccompanied album Mingus Plays Piano. A few pieces were entirely improvised and drew on classical music as much as jazz, preceding Keith Jarrett's landmark The Köln Concert in those respects by some 12 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. On June 28, 1964 Dolphy died while in Berlin. 1964 was also the year that Mingus met his future wife, Sue Graham Ungaro. The couple were married in 1966 by Allen Ginsberg. Facing financial hardship, Mingus was evicted from his New York home in 1966.
He did not complete his final project of an album named after him with singer Joni Mitchell, which included lyrics added by Mitchell to Mingus compositions, including "Goodbye Pork Pie Hat", among Mitchell originals and short, spoken word duets and home recordings of Mitchell and Mingus. The album featured the talents of Wayne Shorter, Herbie Hancock, and another influential bassist and composer, Jaco Pastorius. Mingus died aged 56 in Cuernavaca, Mexico, where he had traveled for treatment and convalescence. His ashes were scattered in the Ganges River.
In addition to the Mingus Big Band, there is the Mingus Orchestra and the Mingus Dynasty, each of which are managed by Jazz Workshop, Inc., and run by Mingus's widow Sue Graham Mingus.
In addition to his musical and intellectual proliferation, Mingus goes into great detail about his perhaps overstated sexual exploits. He claims to have had over 31 affairs over the course of his life (including 26 prostitutes in one sitting). This does not include any of his five wives (he claims to have been married to two of them simultaneously). In addition, he asserts that he held a brief career as a pimp. This has never been confirmed.
Mingus's autobiography also serves as an insight into his psyche, as well as his attitudes about race and society. Autobiographic accounts of abuse at the hands of his father from an early age, being bullied as a child, his removal from a white musician's union, and grappling with disapproval while married to white women and other examples of the hardship and prejudice.
Elvis Costello has recorded "Hora Decubitus" (from Mingus Mingus Mingus Mingus Mingus) on My Flame Burns Blue (2006). "Better Git It in Your Soul" was covered by Davey Graham on his album "Folk, Blues, and Beyond." Trumpeter Ron Miles performs a version of "Pithecanthropus Erectus" on his EP "Witness." New York Ska Jazz Ensemble has done a cover of Mingus' "Haitian Fight Song", as have Pentangle and others. Hal Willner's 1992 tribute album Weird Nightmare: Meditations on Mingus (Columbia Records) contains idiosyncratic renditions of Mingus's works involving numerous popular musicians including Chuck D, Keith Richards, Henry Rollins and Dr. John. The Italian band Quintorigo recorded an entire album devoted to Mingus' music, titled Play Mingus. "We Suck Young Blood" by Radiohead (2003) is based heavily on Mingus' "Freedom" (also from Mingus Mingus Mingus Mingus Mingus).
Gunther Schuller's edition of Mingus' "Epitaph" which premiered at Lincoln Center in 1989 was subsequently released on Columbia/Sony Records.
One of the ultimate tributes to Mingus came on September 29, 1969 at a festival honoring him. Duke Ellington performed The Clown at the festival. Duke himself did Jean Shepherd's naration. As of this date, this recording has not been issued.
When confronted with a nightclub audience talking and clinking 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". Mingus reportedly destroyed a $20,000 bass in response to audience heckling at New York's Five Spot.
Guitarist and singer Jackie Paris was a first-hand witness to Mingus's irascibility. Paris recalls his time in the Jazz Workshop: "He chased everybody off the stand except [drummer] Paul Motian and me... The three of us just wailed on the blues for about an hour and a half before he called the other cats back."
On October 12, 1962, Mingus punched Jimmy Knepper in the mouth while the two men were working together at Mingus's apartment on a score for his upcoming concert at New York Town Hall and Knepper refused to take on more work. The blow from Mingus broke off a crowned tooth and its underlying stub. According to Knepper, this ruined his embouchure and resulted in the permanent loss of the top octave of his range on the trombone - a significant handicap for any professional trombonist. This attack temporarily ended their working relationship and Knepper was unable to perform at the concert. Charged with assault, Mingus appeared in court in January, 1963 and was given a suspended sentence. Knepper would again work with Mingus in 1977 and played extensively with the Mingus Dynasty, formed after Mingus' death in 1979.
Mingus was evicted from his apartment at 5 Great Jones Street in New York City for nonpayment of rent, captured in the film Mingus: 1968, by Thomas Reichman, which also features Mingus performing in clubs and in the apartment, shooting a shotgun, composing at the piano, and discussing love, art, and politics and the music school he had hoped to create.
Category:1922 births Category:1979 deaths Category:American people of Swedish descent Category:American musicians of Chinese descent Category:African American musicians Category:American jazz bandleaders Category:American jazz composers Category:American jazz double-bassists Category:American jazz pianists Category:Atlantic Records artists Category:Avant-garde jazz double-bassists Category:Bebop double-bassists Category:Candid Records artists Category:Columbia Records artists Category:Deaths from motor neurone disease Category:Grammy Lifetime Achievement Award winners Category:Guggenheim Fellows Category:Mercury Records artists Category:Musicians from Arizona Category:People from Cuernavaca Category:People from Los Angeles, California Category:People from Nogales, Arizona Category:Post-bop double-bassists Category:Progressive big band bandleaders Category:Savoy Records artists Category:Third Stream musicians Category:University at Buffalo faculty
ca:Charles Mingus cs:Charles Mingus da:Charles Mingus de:Charles Mingus es:Charles Mingus eo:Charles Mingus fa:چارلز مینگس fr:Charles Mingus io:Charles Mingus it:Charles Mingus he:צ'ארלס מינגוס sw:Charles Mingus nl:Charles Mingus ja:チャールズ・ミンガス no:Charles Mingus oc:Charles Mingus nds:Charles Mingus pl:Charles Mingus pt:Charles Mingus ro:Charles Mingus ru:Мингус, Чарльз sr:Чарлс Мингус fi:Charles Mingus sv:Charles Mingus th:ชาร์ลส มิงกัส uk:Чарльз Мінгус zh:查尔斯·明格斯This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 43°34′29″N116°33′49″N |
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name | Charles |
gender | Male |
meaning | "Free Man" |
origin | Proto-Germanic |
footnotes | }} |
Charles is a given name for males, and has its origins in the Common Germanic term Churl, where it originally was used to indicate a free man, but not one belonging to the nobility.
Other forms are Carl and Karl. Variants, including short forms, include:
Charles may also refer to:
In Bohemian royalty:
In British royalty:
In French royalty:
In German royalty:
In Hungarian royalty:
In Italian royalty:
In Monaco royalty:
In Portuguese royalty:
In Spanish royalty:
In Swedish royalty:
In other royalty:
In other nobility:
Category:English given names Category:English-language masculine given names Category:French masculine given names
ca:Carles da:Charles de:Charles fa:شارل fr:Charles ko:찰스 he:צ'ארלס la:Carolus (discretiva) ja:チャールズ no:Charles nn:Charles sv:Charles tr:Charles zh:查理This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 43°34′29″N116°33′49″N |
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name | Mingus |
region | Germany |
related names | Menges, Minges |
footnotes | }} |
The name Mingus may refer to:
de:Mingus fr:Mingus it:Mingus pt:Mingus
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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