Charles Mingus
Charles Mingus Jr. was an American jazz upright bassist, composer, bandleader, pianist, and author. A major proponent of collective improvisation, he is considered one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz greats such as Duke Ellington, Charlie Parker, Max Roach, and Eric Dolphy. Mingus's work ranged from advanced bebop and avant-garde jazz with small and midsize ensembles to pioneering the post-bop style on seminal recordings like Pithecanthropus Erectus and Mingus Ah Um and progressive big band experiments such as The Black Saint and the Sinner Lady.
Mingus's compositions continue to be played by contemporary musicians ranging from the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra to high school students who play the charts and compete in the Charles Mingus High School Competition. In 1993, the Library of Congress acquired Mingus's collected papers—including scores, sound recordings, correspondence and photos—in what it called "the most important acquisition of a manuscript collection relating to jazz in the Library's history".
Biography
Early life and career
Charles Mingus was born in Nogales, Arizona. His father, Charles Mingus Sr., was a sergeant in the U.S. Army. Mingus Jr. was largely raised in the Watts area of Los Angeles.Mingus's ethnic background was complex. His ancestry included German American, African American, and Native American heritage. His maternal grandfather was a Chinese British subject from Hong Kong, and his maternal grandmother was an African American from the southern United States. Mingus was the great-great-great-grandson of his family's founding patriarch who, by most accounts, was a German immigrant. In Mingus's autobiography Beneath the Underdog, his mother was described as "the daughter of an English/Chinese man and a South-American woman", and his father was the son "of a black farm worker and a Swedish woman". Charles Mingus Sr. claims to have been raised by his mother and her husband as a white person until he was fourteen, when his mother revealed to her family that the child's true father was a black slave, after which he had to run away from his family and live on his own. The autobiography does not confirm whether Charles Mingus Sr. or Mingus himself believed this story was true, or whether it was merely an embellished version of the Mingus family's lineage. According to new information used to educate visitors to Mingus Mill in the Great Smoky Mountains National Park, included in signs unveiled May 23, 2023, the father of Mingus Sr. was former slave Daniel Mingus, owned by the family of his mother Clarinda Mingus, a white woman. When Clarinda married a white man, Mingus Sr. was left with his white grandfather and great-grandparents. His father, who later changed his name to West, apparently did not have a relationship with Mingus Sr.
His mother allowed only church-related music in their home, but Mingus developed an early love for other music, especially that of Duke Ellington. He studied trombone, and later cello, although he was unable to follow the cello professionally because, at the time, it was nearly impossible for a black musician to make a career of classical music, and the cello was not accepted as a jazz instrument. Despite this, Mingus was still attached to the cello; as he studied bass with Red Callender in the late 1930s, Callender even commented that the cello was still Mingus's main instrument. In Beneath the Underdog, Mingus states that he did not actually start learning bass until Buddy Collette accepted him into his swing band under the stipulation that he be the band's bass player.
Due to a poor education, the young Mingus could not read musical notation quickly enough to join the local youth orchestra. This had a serious impact on his early musical experiences, leaving him feeling ostracized from the classical music world. These early experiences, in addition to his lifelong confrontations with racism, were reflected in his music, which often focused on themes of racism, discrimination and justice.
Much of the cello technique Mingus learned was applicable to double bass when he took up the instrument in high school. He studied for five years with Herman Reinshagen, 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.
Mingus was already writing relatively advanced musical pieces in his teenage years; many are similar to Third Stream in that they incorporate elements of classical 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 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, which also included Teddy Edwards, Maurice James Simon, Wild Bill Davis, and Chico Hamilton, and in May that year, in Hollywood, again with 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 Mingus pieces. A popular trio of Mingus, Red Norvo, and Tal Farlow in 1950 and 1951 received considerable acclaim, but Mingus's race caused problems with some 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; however, Mingus's notorious temper led to his being one of the few musicians personally fired by Ellington after a backstage 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".
Mingus married four times. His wives were Jeanne Gross, Lucille Germanis, Judy Starkey, and Susan Graham Ungaro.
Based in New York
In 1952, Mingus co-founded Debut Records with Max Roach so he could conduct his recording career as he saw fit. The name originated from his desire to document unrecorded young musicians. Despite this, the best-known recording the company issued was of the most prominent figures in bebop. On May 15, 1953, Mingus joined Dizzy Gillespie, Parker, Bud Powell, and Roach for a concert at Massey Hall in Toronto, which is the last recorded documentation of Gillespie and Parker playing together. After the event, Mingus chose to overdub his barely audible bass part back in New York; the original version was issued later. The two 10" albums of the Massey Hall concert were among Debut Records' 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, however, are often regarded as among the finest live jazz recordings.One story has it that Mingus was involved in a notorious incident while playing a 1955 club date billed as a "reunion" with Parker, Powell, and Roach. Powell, who suffered from alcoholism and mental illness, 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 microphone 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." 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 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 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.
''Pithecanthropus Erectus'' and other recordings
The 1950s are generally regarded as Mingus's most productive and fertile period. Over a ten-year period, he made 30 records for a number of labels. 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 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 to an eventual downfall. A section of the piece was free improvisation, free of structure or theme.Another album from this period, The Clown, the title track of which features narration by humorist Jean Shepherd, was the first to feature drummer Dannie Richmond, who remained 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".