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- Apart from his grounding in both swing and bebop Mingus absorbed the liberating, ecstatic energy of the black church, which became absolutely essential in many of his own compositions where driving, jangling tambourine-led rhythms, joyous vocal shouts and moanin’ instrumental phrases took pride of place, to the extent that Mingus’ music stood convincingly at the cross-roads of jazz, gospel, blues and proto-R&B, or rather he understood and celebrated the relationship between all of the above.
www.jazzwise.com/artists/article/charles-mingus
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Charles Mingus's music is currently being performed and reinterpreted by the Mingus Big Band, which in October 2008 began playing every Monday at Jazz Standard in New York City, and often tours the rest of the U.S. and Europe.
- Music Division, Library of Congress
- Charles Mingus Collection
- Early Years
- The Golden Years
- Large Canvas Works
- Mingus Live
- Late Mingus
Born in Nogales, Arizona, in 1922, Charles Mingus was raised in Los Angeles and his early interest in music led to him playing the trombone and cello before he heeded the call of the double bass. He quickly became a bass prodigy, learning his trade in the bands of trumpeter Louis Armstrong and vibraphonists Lionel Hampton and Red Norvo before falli...
As the 50s unfolded, Charles Mingus began to blossom as a bandleader and composer. A crucial catalyst in his development were his jazz workshops, where he honed his material and schooled musicians in his methodology, which involved learning his music by ear rather than reading it from notated charts. In 1956, Mingus unleashed his first bonafide mas...
Charles Mingus never recorded many duo, trio, or even quartet albums; he seemed to prefer the timbral possibilities of writing for groups of five musicians or more. One of his most ambitious works for a large ensemble was the 1960 LP, Pre-Bird, whose title alluded to the fact that Mingus wrote its compositions before the musical innovations of bebo...
One of the LPs that announced Charles Mingus as a jazz pathfinder was 1956’s live offering, Mingus At The Bohemia, which featured the bassist’s regular working quintet of the time. It included two classic Mingus tunes; the swinging “Jump Monk,” defined by lively contrapuntal interplay, and the statelier, more eloquent “Work Song,” a song steeped in...
Mingus never lost his penchant for stirring up controversy, even though his music became slicker and began losing its edge in the 1970s. “Remember Rockefeller At Attica,” and “Free Cell Block F, ‘Tis Nazi USA,” both recorded in 1974, were protest songs; while their messages represented Mingus at his provocative best, the music by contrast, was less...
- Charles Waring
- 8 min
- 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 24, 2022 · Like Better Git It, it’s strong, driving music. Recorded in 2004 with lyrics by Costello and the Metropole Orkest led by Vince Mendoza at the North Sea Jazz Festival, it’s an arrangement entirely worthy of the composer — big band meets rock group meets symphony orchestra.
- Mingus at the Bohemia (Debut/Prestige, 1955) Before becoming a bandleader, Charles Mingus toured and recorded as a sideman with many of the leading jazz musicians at the time including Louis Armstrong, Charlie Parker, Lionel Hampton and Roy Eldridge.
- Pithecanthropus Erectus (Atlantic, 1956) Pithecanthropus Erectus is widely considered as Mingus’ breakthrough album. It’s the first album where he taught all his compositions by ear to the musicians instead of writing them down – an idea coming straight out of his Jazz Workshop concept, which also relies heavily on free and group improvisations.
- The Clown (Atlantic, 1957) The Clown is the immediate successor to Pithecanthropus Erectus. Its opening track “The Haitian Fight Song” is the first recorded blues by Mingus and serves as the initial idea to his Blues Album in 1960.
- Mingus Ah-Um (Columbia, 1959) Mingus Ah-Um may well be Charles Mingus’ most popular album and includes compositions which are now considered jazz classics.
Jul 26, 2021 · His music was gloriously, defiantly, completely his own, wrought unaided out of his (not so) private hell, a one-off mix of Ellington, Charlie Parker, gospel, the blues, New Orleans polyphony and fast small-band swing music. Mingus excelled at composing for both small and mid-sized ensembles, and like Ellington, he wrote and arranged with ...
Jun 7, 2021 · Bandleader Charles Mingus was a notable jazz musician of the mid-twentieth century. He helped pioneer the concept of collective improvisation.
