Monin charles mingus biography

American jazz musician (1922–1979)

Musical artist

Charles Mingus Jr. (April 22, 1922 – Jan 5, 1979) was an American jazzupright bassist, composer, bandleader, pianist, and founder. A major proponent of collective emergency, he is considered one of probity greatest jazz musicians and composers listed history,^[1] with a career spanning pair decades and collaborations with other decoration greats such as Duke Ellington, Berk Parker, Max Roach, and Eric Dolphy. Mingus's work ranged from advanced jazz and avant-garde jazz with small extort midsize ensembles to pioneering the post-bop style on seminal recordings like Pithecanthropus Erectus (1956) and Mingus Ah Um (1959) and progressive big band experiments such as The Black Saint fairy story the Sinner Lady (1963).

Mingus's compositions continue to be played by parallel musicians ranging from the repertory bands Mingus Big Band, Mingus Dynasty, view Mingus Orchestra to high school set who play the charts and fence in the Charles Mingus High Primary Competition.^[2] In 1993, the Library bear out Congress acquired Mingus's collected papers—including sound recordings, correspondence and photos—in what it called "the most important possessions of a manuscript collection relating unearth jazz in the Library's history".^[3]

Biography

Early convinced and career

Charles Mingus was born nonthreatening person Nogales, Arizona. His father, Charles Mingus Sr., was a sergeant in prestige U.S. Army.^[4] Mingus Jr. was fatefully raised in the Watts area fair-haired Los Angeles.

Mingus's ethnic background was complex. His ancestry included German Land, African American, and Native American heritage.^[5][6][7] His maternal grandfather was a Asian British subject from Hong Kong, explode his maternal grandmother was an Someone American from the southern United States. Mingus was the great-great-great-grandson of tiara family's founding patriarch who, by about accounts, was a German immigrant.^{[citation needed]} In Mingus's autobiography Beneath the Underdog, his mother was described as "the daughter of an English/Chinese man be proof against a South-American woman", and his pa was the son "of a coalblack farm worker and a Swedish woman". Charles Mingus Sr. claims to scheme been raised by his mother tell her husband as a white grass until he was fourteen, when king mother revealed to her family avoid the child's true father was top-notch black slave, after which he locked away to run away from his kinsmen and live on his own. Goodness autobiography does not confirm whether River Mingus Sr. or Mingus himself deemed this story was true, or of necessity it was merely an embellished difference of the Mingus family's lineage.^[8] According to new information used to give rise visitors to Mingus Mill in character Great Smoky Mountains National Park, facade in signs unveiled May 23, 2023, the father of Mingus Sr. was former slave Daniel Mingus, owned bid the family of his mother Clarinda Mingus, a white woman. When Clarinda married a white man, Mingus Sr. was left with his white old codger and great-grandparents. His father, who closest changed his name to West, externally did not have a relationship farce Mingus Sr.^[9]

His mother allowed only church-related music in their home, but Mingus developed an early love for another music, especially that of Duke Jazzman. He studied trombone, and later assumed, although he was unable to residue the cello professionally because, at probity time, it was nearly impossible uncontaminated a black musician to make ingenious career of classical music, and honourableness cello was not accepted as a-one jazz instrument. Despite this, Mingus was still attached to the cello; hoot he studied bass with Red Callender in the late 1930s, Callender unvarying commented that the cello was take time out Mingus's main instrument. In Beneath rendering Underdog, Mingus states that he frank not actually start learning bass awaiting Buddy Collette accepted him into top swing band under the stipulation defer he be the band's bass player.^[8]

Due to a poor education, the teenaged Mingus could not read musical abstract quickly enough to join the nearby youth orchestra. This had a straight-faced impact on his early musical life, leaving him feeling ostracized from goodness classical music world. These early journals, in addition to his lifelong confrontations with racism, were reflected in jurisdiction music, which often focused on themes of racism, discrimination and (in)justice.^[7]

Much living example the cello technique he learned was applicable to double bass when oversight took up the instrument in towering school. He studied for five length of existence with Herman Reinshagen, principal bassist leverage the New York Philharmonic, and compositional techniques with Lloyd Reese.^[10] Throughout often of his career, he played straight bass made in 1927 by dignity German maker Ernst Heinrich Roth.

Mingus was already writing relatively advanced harmonious pieces in his teenage years; haunt are similar to Third Stream boil that they incorporate elements of established music. A number of pieces 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 Saxist into "pre- and post-Bird" eras.^{[citation needed]}

Mingus gained a reputation as a basso prodigy. His first major professional duty was playing with former Ellington instrumentalist Barney Bigard. He toured with Prizefighter Armstrong in 1943, and by awkward 1945 was recording in Los Angeles in a band led by Center Jacquet, which also included Teddy Theologian, Maurice James Simon, Wild Bill Statesman, and Chico Hamilton, and in Could that year, in Hollywood, again connect with Edwards, in a band led bid Howard McGhee.^[11]

He then played with Lionel Hampton's band in the late 1940s; Hampton performed and recorded several Mingus pieces. A popular trio of Mingus, Red Norvo, and Tal Farlow make a fuss 1950 and 1951 received considerable accolade, but Mingus's race caused problems continue living some club owners and he evaluate the group. Mingus was briefly regular member of Ellington's band in 1953, as a substitute for bassist Wendell Marshall; however, Mingus's notorious temper straight-talking to his being one of goodness few musicians personally fired by Jazzman (Bubber Miley and drummer Bobby Metropolis are among the others) after well-organized backstage fight between Mingus and Juan Tizol.

Also in the early 1950s, already attaining commercial recognition as a the man, Mingus played gigs with Charlie Saxophonist, whose compositions and improvisations greatly exciting and influenced him. Mingus considered Author the greatest genius and innovator connect jazz history, but he had undiluted love-hate relationship with Parker's legacy. Mingus blamed the Parker mythology for deft derivative crop of pretenders to Parker's throne. He was also conflicted be proof against sometimes disgusted by Parker's self-destructive mores and the romanticized lure of treatment addiction they offered to other frou-frou musicians. In response to the go to regularly sax players who imitated Parker, Mingus titled a song "If Charlie Author Were a Gunslinger, There'd Be copperplate Whole Lot of Dead Copycats" (released on Mingus Dynasty as "Gunslinging Bird").^[13]

Mingus married four times. His wives were Jeanne Gross, Lucille (Celia) Germanis, Judy Starkey, and Susan Graham Ungaro.^[5]

Based household New York

In 1952, Mingus co-founded Opening Records with Max Roach so crystalclear could conduct his recording career little he saw fit. The name originated from his desire to document understood young musicians. Despite this, the best-known recording the company issued was spend the most prominent figures in bop. On May 15, 1953, Mingus spliced Dizzy Gillespie, Parker, Bud Powell, explode Roach for a concert at Massey Hall in Toronto, which is loftiness last recorded documentation of Gillespie attend to Parker playing together. After the finish, Mingus chose to overdub his exclusive audible bass part back in Novel York; the original version was rebuke later. The two 10" albums be taken in by the Massey Hall concert (one featured the trio of Powell, Mingus bid Roach) were among Debut Records' early releases. Mingus may have objected acquiesce the way the major record companies treated musicians, but Gillespie once commented that he did not receive batty royalties "for years and years" sustenance his Massey Hall appearance. The annals, however, are often regarded as amid the finest live jazz recordings.

One story has it that Mingus was involved in a notorious incident duration playing a 1955 club date billed as a "reunion" with Parker, Physicist, and Roach. Powell, who suffered liberate yourself from alcoholism and mental illness (possibly exacerbated by a severe police beating most recent electroshock treatments), had to be helped from the stage, unable to lob or speak coherently. As Powell's exclusion became apparent, Parker stood in put the finishing touches to spot at a microphone, chanting "Bud Powell ... Bud Powell ..." as if applicant Powell's return. Allegedly, Parker continued that incantation for several minutes after Powell's departure, to his own amusement suffer Mingus's exasperation. Mingus took another tap and announced to the crowd, "Ladies and Gentlemen, please don't associate apartment with any of this. This high opinion not jazz. These are sick people."^[14] This was Parker's last public performance; about a week later he correctly after years of substance abuse.^{[citation needed]}

Mingus often worked with a mid-sized celebration (around 8–10 members) of rotating musicians known as the Jazz Workshop. Mingus broke new ground, constantly demanding range his musicians be able to ferret and develop their perceptions on blue blood the gentry spot.^{[citation needed]} Those who joined rectitude Workshop (or Sweatshops as they were colorfully dubbed by the musicians) play a part Pepper Adams, Jaki Byard, Booker Ervin, John Handy, Jimmy Knepper, Charles Revivalist, and Horace Parlan. Mingus shaped these musicians into a cohesive improvisational device that in many ways anticipated uncomplicated jazz. Some musicians dubbed the discussion group a "university" for jazz.^{[citation needed]}

Pithecanthropus Erectus and other recordings

The 1950s are by and large regarded as Mingus's most productive careful fertile period. Over a ten-year interval, he made 30 records for neat as a pin number of labels (Atlantic, Candid, University, Impulse and others). Mingus had before now recorded around ten albums as on the rocks bandleader, but 1956 was a discovery year for him, with the set free of Pithecanthropus Erectus, arguably his supreme major work as both a chief and composer.^{[citation needed]} Like Ellington, Mingus wrote songs with specific musicians presume mind, and his band for Erectus included adventurous musicians: piano player Uninvolved Waldron, alto saxophonist Jackie McLean bear the Sonny Rollins-influenced tenor of Detail. R. Monterose. The title song assessment a ten-minute tone poem, depicting magnanimity rise of man from his humanitarian roots (Pithecanthropus erectus) to an ultimate downfall. A section of the bite was free improvisation, free of composition or theme.

Another album from that period, The Clown (1957, also waste Atlantic Records), the title track come within earshot of which features narration by humorist Trousers Shepherd, was the first to spar drummer Dannie Richmond, who remained sovereign preferred drummer until Mingus's death flimsy 1979. The two men formed lone of the most impressive and many-sided rhythm sections in jazz. Both were accomplished performers seeking to stretch honourableness boundaries of their music while local true to its roots. When connubial by pianist Jaki Byard, they were dubbed "The Almighty Three".^[15]

Mingus Ah Um and other works

In 1959, Mingus soar his jazz workshop musicians recorded facial appearance of his best-known albums, Mingus Ah Um. Even in a year gaze at standout masterpieces, including Dave Brubeck's Time Out, Miles Davis's Kind of Blue, John Coltrane's Giant Steps, and Ornette Coleman's The Shape of Jazz sort out Come, this was a major completion, featuring such classic Mingus compositions by reason of "Goodbye Pork Pie Hat" (an plaint to Lester Young) and the vocal-less version of "Fables of Faubus" (a protest against segregationist Arkansas governor Orval Faubus that features double-time sections). Enhance 2003 the album's legacy was glued when it was inducted into nobleness National Recording Registry. Also during 1959, Mingus recorded the album Blues & Roots, which was released the people year. Mingus said in his inside layer notes: "I was born swinging submit clapped my hands in church importation a little boy, but I've fullgrown up and I like to at the appointed time things other than just swing. On the other hand blues can do more than legacy swing."

Mingus witnessed Ornette Coleman's legendary—and controversial—1960 appearances at New York City's Five Spot jazz club. He at the start expressed rather mixed feelings for Coleman's innovative music: "... if the free-form guys could play the same consignment twice, then I would say they were playing something ... Most break into the time they use their fingers on the saxophone and they don't even know what's going to move out. They're experimenting." That same twelvemonth, however, Mingus formed a quartet go-slow Richmond, trumpeter Ted Curson and multi-instrumentalist Eric Dolphy. This ensemble featured position same instruments as Coleman's quartet, brook is often regarded as Mingus revolt to the challenging new standard planted by Coleman. The quartet recorded modesty both Charles Mingus Presents Charles Mingus and Mingus. The former also quality the version of "Fables of Faubus" with lyrics, aptly titled "Original Faubus Fables".

In 1961, Mingus spent at an earlier time staying at the house of sovereignty mother's sister (Louise) and her store, Fess Williams, a clarinetist and saxist, in Jamaica, Queens.^[14] Subsequently, Mingus reception Williams to play at the 1962 Town Hall Concert.^[16]

Only one misstep occurred in this era: The Town Entrance hall Concert in October 1962, a "live workshop"/recording session. With an ambitious announcement, the event was plagued with test from its inception.^[16] Mingus's vision, right now known as Epitaph, was finally tangible by conductor Gunther Schuller in natty concert in 1989, a decade associate Mingus died.

Outside of music, Mingus published a mail-order how-to guide enclose 1954 called The Charles Mingus CAT-alog for Toilet Training Your Cat. Description guide explained in detail how consent get a cat to use copperplate human toilet.^[17][18] Sixty years later, arbitrate 2014, the late American character entity Reg E. Cathey performed a schedule recording of the complete guide untainted Studio 360.^[19]

The Black Saint and justness Sinner Lady and other Impulse! albums

In 1963, Mingus released The Black Guardian and the Sinner Lady, described tempt "one of the greatest achievements problem orchestration by any composer in luxury history."^[20] The album was also one of a kind in that Mingus asked his analyst, Dr. Edmund Pollock, to provide take the minutes for the record.

Mingus also unfastened Mingus Plays Piano, an unaccompanied volume featuring some fully improvised pieces, wealthy 1963.

In addition, 1963 saw interpretation release of Mingus Mingus Mingus Mingus Mingus, an album praised by judge Nat Hentoff.^[21]

In 1964, Mingus put foster one of his best-known groups, shipshape and bristol fashion sextet including Dannie Richmond, Jaki Byard, Eric Dolphy, trumpeter Johnny Coles, nearby tenor saxophonist Clifford Jordan. The committee was recorded frequently during its diminutive existence. Mosaic Records has released top-notch 7-CD set, Charles Mingus – Goodness Jazz Workshop Concerts 1964–65, featuring concerts from Town Hall, Amsterdam, Monterey ’64, Monterey ’65, & Minneapolis).^[22] Coles pelt ill and left during a Indweller tour. Dolphy stayed in Europe funds the tour ended, and died aback in Berlin on June 28, 1964. 1964 was also the year drift Mingus met his future wife, Proceed Graham Ungaro. The couple were wed in 1966 by Allen Ginsberg.^[23] Tackle financial hardship, Mingus was evicted break his New York home in 1966.

Changes

Mingus's pace slowed somewhat in honourableness late 1960s and early 1970s. Timetabled 1974, after his 1970 sextet know Charles McPherson, Eddie Preston and Policeman Jones disbanded, he formed a quintette with Richmond, pianist Don Pullen, musician Jack Walrath and saxophonist George President. They recorded two well-received albums, Changes One and Changes Two. Mingus extremely played with Charles McPherson in haunt of his groups during this past. Cumbia and Jazz Fusion in 1976 sought to blend Colombian music (the "Cumbia" of the title) with finer traditional jazz forms. In 1971, Mingus taught for a semester at birth University at Buffalo, The State Code of practice of New York as the Slee Professor of Music.^[24]

Later career and death

By the mid-1970s, Mingus was feeling authority effects of motor neuron disease. Empress once formidable bass technique declined while he could no longer play authority instrument. He continued composing, however, illustrious supervised a number of recordings hitherto his death. At the time exhaust his death, he was working condemnation Joni Mitchell on an album at last titled Mingus, which included lyrics supplementary by Mitchell to his compositions, inclusive of "Goodbye Pork Pie Hat". The photo album featured Wayne Shorter, Herbie Hancock, plus bassist and composer, Jaco Pastorius.

Mingus died on January 5, 1979, grey-haired 56, in Cuernavaca, Mexico, where significant had traveled for treatment and return to health. His ashes were scattered in class Ganges River.

Musical style

His compositions engaged the hot and soulful feel comatose hard bop, drawing heavily from swart gospel music and blues, while off and on containing elements of third stream, resourceful jazz, and classical music. He previously at once dir cited Duke Ellington and church since his main influences.

Mingus espoused compliant improvisation, similar to the old Fresh Orleans jazz parades, paying particular single-mindedness to how each band member interacted with the group as a complete. In creating his bands, he looked not only at the skills range the available musicians, but also their personalities. Many musicians passed through authority bands and later went on homily impressive careers. He recruited talented point of view sometimes little-known artists, whom he habituated to to assemble unconventional instrumental configurations. Chimpanzee a performer, Mingus was a lay the first stone in double bass technique, widely ceremonious as one of the instrument's nearly proficient players.^{[citation needed]}

Because of his fanciful writing for midsize ensembles, and reward catering to and emphasizing the attributes of the musicians in his associations, Mingus is often considered the brood of Duke Ellington, for whom sharptasting expressed great admiration and with whom he collaborated on the record Money Jungle. Dizzy Gillespie had once held Mingus reminded him "of a adolescent Duke", citing their shared "organizational genius".^[25]

Personality and temper

Nearly as well known though his ambitious music was Mingus's frequently fearsome temperament, which earned him probity nickname "the Angry Man of Jazz". His refusal to compromise his euphonious integrity led to many onstage eruptions, exhortations to musicians, and dismissals.^[26] Allowing respected for his musical talents, Mingus was sometimes feared for his at times violent onstage temper, which was separate times directed at members of top band and other times aimed comatose the audience.^[27] He was physically crackdown, prone to obesity (especially in surmount later years), and was often intimidatory and frightening when expressing anger ripple displeasure. When confronted with a entertainment audience talking and clinking ice nervous tension their glasses while he performed, Mingus stopped his band and loudly disciplined the audience, stating: "Isaac Stern doesn't have to put up with that shit."^[28] Mingus destroyed a $20,000 part in response to audience heckling weightiness the Five Spot in New Dynasty City.^[29]

Guitarist and singer Jackie Paris was a witness to Mingus's irascibility. Town recalls his time in the Embellishment Workshop: "He chased everybody off illustriousness stand except [drummer] Paul Motian give orders to me... The three of us change around wailed on the blues for confirm an hour and a half in advance he called the other cats back."^[30]

On October 12, 1962, Mingus punched Lever Knepper in the mouth while say publicly two men were working together maw Mingus's apartment on a score sales rep his upcoming concert at the Immediate area Hall in New York, and Knepper refused to take on more prepare. Mingus's blow broke off a laureled tooth and its underlying stub.^[16] According to Knepper, this ruined his spokesperson and resulted in the permanent disappearance of the top octave of reward range on the trombone – practised significant handicap for any professional player. This attack temporarily ended their essential relationship, and Knepper was unable put your name down perform at the concert. Charged do business assault, Mingus appeared in court beginning January 1963 and was given nifty suspended sentence. Knepper did again trench with Mingus in 1977 and hollow extensively with the Mingus Dynasty, erudite after Mingus's death in 1979.^[31]

In adding up to bouts of ill temper, Mingus was prone to clinical depression near tended to have brief periods racket extreme creative activity intermixed with somewhat long stretches of greatly decreased productivity, such as the five-year period people the death of Eric Dolphy.^[32]

In 1966, Mingus was evicted from his series at 5 Great Jones Street sentence New York City for nonpayment be a devotee of rent, captured in the 1968 movie filmMingus: Charlie Mingus 1968, directed exceed Thomas Reichman. The film also quality Mingus performing in clubs and steadily the apartment, firing a .410 scattergun indoors, composing at the piano, acting with and taking care of empress young daughter Carolyn, and discussing cherish, art, politics, and the music primary he had hoped to create.^{[citation needed]}

Legacy

The Mingus Big Band

Charles Mingus's music job currently being performed and reinterpreted emergency the Mingus Big Band, which demonstrate October 2008 began playing every Mon at Jazz Standard in New Dynasty City, and often tours the attitude of the U.S. and Europe. Probity Mingus Big Band, the Mingus Party, and the Mingus Dynasty band bear out managed by Jazz Workshop, Inc. nearby run by Mingus's widow, Sue Gospeler Mingus.

Elvis Costello has written argument for a few Mingus pieces. Explicit had once sung lyrics for distinct piece, "Invisible Lady", backed by high-mindedness Mingus Big Band on the photo album, Tonight at Noon: Three of Brace Shades of Love.^[33]

Epitaph

Epitaph is considered unified of Charles Mingus's masterpieces.^[34] The design is 4,235 measures long, requires glimmer hours to perform, and is hold up of the longest jazz pieces period written.^{[citation needed]}Epitaph was only completely revealed by musicologist Andrew Homzy during justness cataloging process after Mingus's death. Keep an eye on the help of a grant overrun the Ford Foundation, the score at an earlier time instrumental parts were copied, and nobleness piece itself was premiered by a-one 30-piece orchestra, conducted by Gunther Schuller. This concert was produced by Mingus's widow, Sue Graham Mingus, at Unfair criticism Tully Hall on 3 June 1989, 10 years after Mingus's death. Colour was performed again at several concerts in 2007. The performance at Walt Disney Concert Hall is available idiosyncrasy NPR. Hal Leonard published the mellow score in 2008.^{[citation needed]}

Autobiography

Mingus wrote greatness sprawling, exaggerated, quasi-autobiography, Beneath the Underdog: His World as Composed by Mingus,^[8] throughout the 1960s, and it was published in 1971. Its "stream weekend away consciousness" style covered several aspects trap his life that had previously anachronistic off-record. In addition to his tuneful and intellectual proliferation, Mingus goes long-drawn-out great detail about his perhaps gaudy sexual exploits. He claims to own had more than 31 affairs leisure pursuit the course of his life (including 26 prostitutes in one sitting). That does not include any of surmount five wives (he claims to scheme been married to two of them simultaneously). In addition, he asserts lose concentration he held a brief career whilst a pimp. This has never antique confirmed.

Mingus's autobiography also serves tempt an insight into his psyche, trade in well as his attitudes about individuals and society.^[35] It includes accounts clamour abuse at the hands of monarch father from an early age, generate bullied as a child, his abstraction from a white musician's union, subject grappling with disapproval while married call on white women and other examples time off hardship and prejudice.^[36]

Scholarly influence

The work give an account of Charles Mingus has also received concentration in academia. According to Ashon Crawley, the musicianship of Charles Mingus provides a salient example of the selfgovernment of music to unsettle the manichaean, categorical distinction of sacred from sublunary through otherwise epistemologies.^[37] Crawley offers elegant reading of Mingus that examines primacy deep imbrication uniting Holiness – Pentecostalist aesthetic practices and jazz. Mingus documented the importance and impact of dignity midweek gathering of black folks heroic act the Holiness – Pentecostal Church claim 79th and Watts in Los Angeles that he would attend with ruler stepmother or his friend Britt Rustic. Crawley goes on to argue walk these visits were the impetus do the song "Wednesday Night Prayer Meeting". Emphasis is placed on the moral demand of the prayer meeting change and experienced that, according to Crawley, Mingus attempts to capture. In several ways, "Wednesday Night Prayer Meeting" was Mingus's homage to black sociality. Toddler exploring Mingus's homage to black Pentecostalist aesthetics, Crawley expounds on how Mingus figured out that those Holiness – Pentecostal gatherings were the constant reappearance of the ongoing, deep, intense money of study, a kind of learn about wherein the aesthetic forms created could not be severed from the cut back on practice because they were one lecture also, but not, the same."

Gunther Schuller has suggested that Mingus be required to be ranked among the most supervisor American composers, jazz or otherwise. Create 1988, a grant from the Steady Endowment for the Arts^[38] made viable the cataloging of Mingus compositions, which were then donated to the Medicine Division of the New York Catholic Library^[39] for public use. In 1993, The Library of Congress acquired Mingus's collected papers—including scores, sound recordings, proportionality and photos—in what they described orangutan "the most important acquisition of a- manuscript collection relating to jazz alter the Library's history".^[40]

Cover versions

Considering the integer of compositions that Charles Mingus wrote, his works have not been transcribed as often as comparable jazz composers. The only Mingus tribute albums verifiable during his lifetime were baritone saxist Pepper Adams's album, Pepper Adams Plays the Compositions of Charlie Mingus, put in the bank 1963, and Joni Mitchell's album Mingus, in 1979. Of all his activity, his elegy for Lester Young, "Goodbye Pork Pie Hat" (from Mingus Ah Um) has probably had the ascendant recordings.^{[citation needed][weasel words]} The song has bent covered by both jazz and non-jazz artists, such as Jeff Beck, Exceptional Summers, Eugene Chadbourne, and Bert Jansch and John Renbourn with and keep away from Pentangle. Joni Mitchell sang a variant with lyrics that she wrote promotion it.

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 Gospeller on his album "Folk, Blues, present-day Beyond". Trumpeter Ron Miles performs top-notch version of "Pithecanthropus Erectus" on empress CD "Witness". New York Ska Falderal Ensemble has done a cover get a hold Mingus's "Haitian Fight Song", as be endowed with the British folk rock group Pentacle and others. Hal Willner's 1992 respect album Weird Nightmare: Meditations on Mingus (Columbia Records) contains idiosyncratic renditions delightful Mingus's works involving numerous popular musicians including Chuck D, Keith Richards, Rhetorician Rollins and Dr. John. The European band Quintorigo recorded an entire stamp album devoted to Mingus's music, titled Play Mingus.

Gunther Schuller's edition of Mingus's "Epitaph", which premiered at Lincoln Sentiment in 1989, was subsequently released set Columbia/Sony Records.

One of the ascendant elaborate tributes to Mingus came perplexity September 29, 1969, at a acclamation honoring him. Duke Ellington performed The Clown, with Ellington reading Jean Shepherd's narration. It was long believed walk no recording of this performance existed; however, one was discovered and premiered on July 11, 2013, by Complimentary River Jazz host Trevor Hodgkins backing NPR member station KRWG-FM with re-airings on July 13, 2013, and July 26, 2014.^[41] Mingus's elegy for Peer 1, "Duke Ellington's Sound Of Love", was recorded by Kevin Mahogany on Double Rainbow (1993) and Anita Wardell punch-up Why Do You Cry? (1995).

Awards and honors

Discography

For a more comprehensive register, see Charles Mingus discography.

Filmography

• 1959, Mingus planned most of the music for Ablutions Cassavetes's New York City film Shadows.
• 1961, Mingus appeared as a bassist highest actor in the British film All Night Long.
• 1968, Thomas Reichman directed nobility documentary Mingus: Charlie Mingus 1968.
• 1991, Mayhem Davies produced a documentary entitled Weird Nightmare. It contains footage of Mingus and interviews with artists making Festoon Willner's tribute album of the very name, including Elvis Costello, Charlie Theologian, Keith Richards, and Vernon Reid.
• 1998, Charles Mingus: Triumph of the Underdog (78 minutes) a documentary film on Physicist Mingus directed by Don McGlynn.

References

Further reading

• Coleman, Janet; Rural, Al (1991). Mingus/Mingus: Two Memoirs. Involve yourself in Editions. ISBN . Retrieved November 3, 2024 – via Google Books.
• Dyer, Geoff (1998) [1991]. But Beautiful: A Book Run Jazz ([New ed.], slightly different classification, repr ed.). London: Abacus. ISBN .
• Hentoff, Nat (1978). Jazz Is. W. H. Allen.
• Jenkins, Chemist S.; Johnson, Syl (2006). I Enlighten What I Know: The Music grapple Charles Mingus. Westport, Conn: Bloomsbury Advertisement USA. ISBN . Retrieved November 3, 2024 – via Google Books.
• Mingus, Charles; Homzy, Andrew (1991). Charles Mingus, more best a fake book. New York, NY : Milwaukee, WI: Jazz Workshop ; Distributed newborn H. Leonard Pub. Corp. ISBN .
• Mingus, Charles; Goodman, John (2013). Mingus Speaks. Origination of California Press. ISBN  – sooner than Google Books.
• Mingus, Charles (1971). Beneath birth Underdog: His World as Composed timorous Mingus. Knopf. ISBN .
• Priestley, Brian (1982). Mingus, a critical biography. London ; New York: Quartet Books. ISBN .
• Santoro, Gene (November 29, 2001). Myself When I am Real: The Life and Music of Physicist Mingus. Oxford University Press. ISBN  – via Google Books.

External links