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- During the decade of the 1950’s many believe that Mr Mingus was at the peak of his powers. The series of albums he released on the Columbia imprint were mighty signposts of contemporary music. Mr Mingus, critics argued, was at his ground-breaking best in small, medium and larger ensembles.
jazzdagama.com/masthead/the-importance-of-charles-mingus-100-years-on/The Importance of Charles Mingus – 100 years on - Jazz da Gama
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Charles Mingus Jr. (April 22, 1922 – January 5, 1979) 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, [1] with a career spanning three decades and collaborations with other jazz greats ...
- Music Division, Library of Congress
- Charles Mingus Collection
Apr 20, 2022 · The late ‘50s and ‘60s was to be Mingus’ most qualified productive and prolific period, recording some 30 albums for a variety of labels including Atlantic, Candid, Columbia, and Impulse!. A major artistic statement, reputation-wise, for its highly inventive and experimental compositional approach, is the release, Pithecanthropus Erectus ...
- Ellington’s Influence
- Established His Own Trademarks
- Prototype For The 1960s
- “Chill of Death”
- Selected Discography
- Sources
In grade school Mingus played a trombone. Upon the advice of his friend and trombonist, Britt Woodman, he switched to cello and earned a seat in the Los Angeles Junior Philharmonic. Whether prompted by the advice of his friend Buddy Collette or a decision influenced by the requirements of joining the school band, Mingus took up the double bass, an ...
Mingus’s growing reputation as a bassist led to a stint with Lionel Hampton’s band in 1947. In November of the same year, Hampton recorded the 25-year old bassist’s number “Mingus Fingus.” Noted “cool jazz” horn player and conductor Gunther Schuller expressed some criticism of the number’s form in his work The Swing Era, but he also praised it as a...
On May 15,1953 Mingus and Roach, along with Charlie Parker and pianist Bud Powell, appeared at Massey Hall in Toronto, Canada. Mingus recorded the performance from the bandstand and, after re-dubbing many of his bass parts, released it as the Debut album Jazz at Massey Hall. During the same year, Mingus and Roach organized a “Jazz Workshop” concert...
By 1970 Mingus began to appear at club and festival dates. That same year, Knopf published his autobiographical work, Beneath the Underdog. Written in a surreal prose style and paying little attention to chronology, the book, while it addressed the issue of race, overlooked many important discussions of music in favor of emphasizing the author’s se...
Minor Intrusions, Bethlehem, 1954. Charles Mingus, Prestige, 1955. Pithecanthropus Erectus, Atlantic, 1956. Passions of a Man, Atlantic, 1956. East Coasting, Bethlehem, 1957. The Clown, Atlantic, 1957. Tijuana Moods, RCA, 1957. Dynasty;, Columbia, 1959. Ah Um, Columbia, 1959. Blues and Roots, Atlantic, 1960. Mingus Revisited, Polygram, 1960. Mingus...
Books
Baillett, Whitney, American Musicians II: Seventy-One Portraits in Jazz, Oxford UniversityPress, 1996. Davis, Miles with Quincy Troupe, Miles: The Autobiography, Simon & Schuster, 1990. Feather, Leonard, The Encyclopedia of Jazz, Horizon Press, 1960. Gioia, Ted, West Coast Jazz: Modern Jazz In California 1945-1960, Oxford UniversityPress, 1992. Hentoff, Nat, Jazz Is, Limelight Editions, 1984. Lyons, Len, The Great Jazz Pianists: Speaking of Their Lives and Music, Da Capo, 1983. Perry, David,...
Other
Additional information for this profile was obtained from liner notes to the following albums:Mingus Revisited, Polygram, 1960, and Changes One, Atlantic, 1975. —John Cohassey
Oct 18, 2024 · The Mingus composition most frequently recorded by others is “ Goodbye, Porkpie Hat,” a tribute to Lester Young, and his most frequently cited extended work is “ Pithecanthropus Erectus,” a musical interpretation of human evolution.
- The Editors of Encyclopaedia Britannica
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 ...
Mingus chafed at being called a jazz composer and disparaged the term “jazz” altogether. “Don’t call me a jazz musician,” he said in 1969. “The word jazz means… discrimination, second-class citizenship, the back-of-the-bus bit.”. Accordingly, his music moved beyond the confines of traditional jazz.
Mar 30, 2022 · The series of albums he released on the Columbia imprint were mighty signposts of contemporary music. Mr Mingus, critics argued, was at his ground-breaking best in small, medium and larger ensembles. His glory as a composer and orchestrator shone bright on albums such as Mingus Ah Um.
