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Allegedly nicknamed the "Sweatshop," Mingus's group had a paradoxically disciplinary quality: while Mingus laid the. basis for free jazz (increasing the musical freedoms of his Workshoppers through modal forms), he constrained his fellow musicians through the Workshop's febrile instruction.
Aug 1, 2001 · Pithecanthropus Erectus was one of the precursors of the 1960s free jazz movement, as its title track is one of the first examples of musicians freely interpreting systems of notes.
- Pithecanthropus Erectus. From the album Pithecanthropus Erectus – Rec: 1956. Sounding as radical today as at the time of release, this Charles Mingus song is a tone poem that he said depicted the rise and fall of man.
- Haitian Fight Song. From the album The Clown – Rec: 1957. One of the most vital elements of Mingus’s writing is it’s deep connection to the blues and early jazz, whilst anticipating some of the developments of the free jazz of the 1960s.
- Ysabel’s Table Dance. From the album Tijuana Moods – Rec: 1957. Recorded just months after The Clown but not released until 1962, the album Tijuana Moods hints at some of the musical ideas that Mingus would follow up a few years later with his epic The Black Saint & The Sinner Lady (1963).
- Wednesday Night Prayer Meeting. From the album Blues & Roots – Rec: 1959. The Charles Mingus album Blues & Roots features a larger band than usual (even for him!)
Mar 1, 2002 · This biography leaves no doubt that Charles Mingus was a major figure in the history of jazz and American music. He was a bassist without peer, a seminal influence on contemporary musicians, and the leader of a number of legendary jazz workshops, combos, and big bands.
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
Mar 30, 2022 · After an iconic set in which he played his famous medley of the Duke’s tunes at the Monterey Jazz Festival in 1695, Mr Mingus said in homage: “Thank you, but I owe it all to Duke Ellington… I should say… I stole it from him…”
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Jul 8, 2019 · Mingus may have known little of Mitchell beyond her erroneous image as an “acoustic folkie” impudent enough to experiment with jazz structures and chords, and Mitchell, while “honoured” to be summoned, was not intimidated by Mingus’s reputation, knowing as little as she did of his music.
