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moment when jazz composer Charles Mingus set in motion a novel but durable experiment in musical orchestration and simultaneously un-veiled a menacing critique of modernist authority. Mingus had as-sembled his Jazz Workshop in the Atlantic studios to record "Pithecan-thropus Erectus," a "jazz tone-poem" that was simple in the primordial sense.
In the recording below, you can actually hear the atmosphere in the concert hall change as they realize the true intentions of the song. Here's the story of how John Coltrane, Charles Mingus, Nina Simone and other jazz pioneers made their voices heard during the civil rights movement.
His compositions retained the hot and soulful feel of hard bop, drawing heavily from black gospel music and blues, while sometimes containing elements of third stream, free jazz, and classical music. He once cited Duke Ellington and church as his main influences.
- Music Division, Library of Congress
- Charles Mingus Collection
Jul 17, 2007 · Mercurial and gifted bassist and band leader Charles Mingus is considered by many to be one of the jazz greats of all time, and one of the 20th Century’s most important Black composers. He worked and recorded with jazz legends such as Miles Davis, Art Tatum, Eric Dolphy, Charlie Parker, Dizzy Gillespie, and Max Roach.
Sep 17, 2013 · For the next five years, Mingus was sunk in gloom. The young people who’d followed him at the Five Spot had moved on to the wilder shores of free jazz and rock, and he felt abandoned.
Although his gifts as a bassist and composer were immense, Charles Mingus also embodied a distinct spirit of defiance and dissent in jazz. The political statements he made during the Civil Rights era, through titles such as ‘Prayer For Passive Resistance’, ‘Haitian Fight Song’, ‘Meditations’ and ‘Fables Of Faubus’, a searing ...
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Oct 26, 2018 · The early 1960s found Mingus standing on the outside of the free jazz clique, staring at it with a mixture of curiosity, envy, and disdain. Mingus’s roots in the jazz tradition and his impulses as a composer prevented him from fully accepting atonality and open structures, yet his fondness for new sounds motivated him to find some common ...
