Charles Mingus was jazz’s great contrarian, a bassist who refused to stay in the background, a composer who wouldn’t color inside the lines, and a bandleader who treated his ensembles as extensions of his volcanic personality.
Thanks Bret, for a beautiful appreciation of this maestro. “Cumbia and Jazz Fusion” is the morning lift I didn't know I needed. Love the sounds of nature opening.
One late afternoon, Lili (my twin sister) and I were walking down Bleeker Street in the Village after a rehearsal. We were approached by a man who said to us " I have two tickets to see Mingus at Top of the Gate - would you two like them> I can't use them". Of course, we said yes. We climbed the stairs to the club, and the first thing that caught my attention, besides the music, was that the entire front section of the club had empty tables. Everyone attending was sitting further back. I didn't understand why - neither did Lili. As we began to maneuver where to sit, a waiter approached us and said "don't sit too close to the front." Well, we sat where we wanted to , which was to the side near the front with a great view of the band and Mingus himself. The show was great. As we left, Lili asked one of the other attendees why no one sat in the front. He replied "Mingus has been known to throw things!" That night, all he was "throwing" was amazing music. As always, thanks for this. Barbara
I've always loved Mingus. The first time EVER I heard Eric Dolphy was in his leaping solo on Hora Decubitas. (my memory may be wrong abt the title) I had Black Saint, I had Mingus Mingus Mingus, I had Ah Um, I had ....most of it. I've never heard this one before, the one you're presenting. How exciting! Thanks, Bret
Brillaint piece on Mingus! Your point about the bass as protagonist rather than accompanist really captures what made him revolutionary. That shift fundamentaly changed how we think about rhythm sections in jazz, it gave the bassline a narrative voice instead of just a timekeping role. I remember first hearing Haitian Fight Song and being shocked by how much storytelling could come from those thick strings, totally changed how I listened to ensemble dynamics.
Hey Bret, Great Article!!! Mingus was One of a Kind. "Mingus A Um" to this Day Is Such a Transformative Album and Should Be Listened even today. Great Piece My Friend Always Keep Jazz Alive
Mingus, Pithencanthropus Erectus. Discovered by me at around 13yo. If I could write like you I could try words, but I cannot. It has never changed. I have some Mingus stories but I am sure you do too.
As always, thanx for writing, and posting the recording.
I love Mingus. All of him. When I heard his bass playing I realized the bass wasn't just an instrument with a rich, resonant tone, but a violently expressive, lyrical monster.
But one of the reasons I'm most grateful to Mingus is for introducing me to Jackie McLean.
I'd never heard of the guy. Then his solo on Moanin' slayed me. I love Charlie Parker, but something about McLean's timbre announced, "THAT'S how the alto is supposed to sound."
Beneath the Underdog is hilarious. One of my favourite jazz autobiographies next to Raise Up Off Me by Hampton Hawes and Straight Life by Art and Laurie Pepper.
Joni Mitchell seems to like bass players. The Mingus album is great, but what really moves me is her record Heijira: some of my favourite Jaco Pastorius on that.
Spot-on analysis of how Mingus turned the bass into a narrative voice rather than just timekeeper. The "Haitian Fight Song" example really captures this, where the bass doesn't just support the harmony but drives the entire emotional arc of the piece. I've always thought his approach to collective improvisation in the Jazz Workshops was like controlled chaos, where he set boundaries butexpected musicians to push against them. That tension between structure and freedom is probably what keeps his music sounding so alive decades later.
Thank you Brett for not only another well written piece but perfectly timed prompt for a Monday with Mingus. ✨🎶( It’s actually Friday but in my mind and soul sure seems like Monday. 🙃 )
Thanks Bret again for a great piece about a great man, a great composer and great sound-maker. I got to know Mingus from the inside, so to speak, when I read "Beneath the Underdog" in 1976, when I was 21. I loved getting that glimpse into the world(s) of genius sound-makers, loved hearing his thoughts about Charlie Parker and Eric Dolphy and others, and was appalled to read about the tough world black musicians had to deal with day in day out..
"Goodbye Pork Pie Hat" is one of the most beautiful tunes ever written, and "Better Git It in your Soul" will always stoke up a fire instantly in my soul whenever I hear it.
On 15 July 1977 I actually saw Mingus live at the North Sea Jazz festival. I was star struck, adrenaline oozing from my ears... He started off with Better git it in your soul, but had to start three times over! The sound technician had not understood about setting up the monitors properly, so Mingus politely and in a friendly manner had to remind him repeatedly to turn up the bass! ;) After the concert people were lining up for an autograph. Reluctantly I decided to join the queue, then realized I should have brought my copy of "Beneath the Underdog", then the person in front of me gave Mingus a pen that didn't work... Mingus tried a few times to make it work, it didn't, and he said "I'm superstitious", and moved on, leaving me standing there empty handed.
That same night on 15 July 1977, I also saw Max Roach and Dizzy Gillespie. Many years later I realized I had seen 3/5 of the Massey Hall line-up. Charlie Parker would only have been 57 had he lived...
Thanks Bret, for a beautiful appreciation of this maestro. “Cumbia and Jazz Fusion” is the morning lift I didn't know I needed. Love the sounds of nature opening.
One late afternoon, Lili (my twin sister) and I were walking down Bleeker Street in the Village after a rehearsal. We were approached by a man who said to us " I have two tickets to see Mingus at Top of the Gate - would you two like them> I can't use them". Of course, we said yes. We climbed the stairs to the club, and the first thing that caught my attention, besides the music, was that the entire front section of the club had empty tables. Everyone attending was sitting further back. I didn't understand why - neither did Lili. As we began to maneuver where to sit, a waiter approached us and said "don't sit too close to the front." Well, we sat where we wanted to , which was to the side near the front with a great view of the band and Mingus himself. The show was great. As we left, Lili asked one of the other attendees why no one sat in the front. He replied "Mingus has been known to throw things!" That night, all he was "throwing" was amazing music. As always, thanks for this. Barbara
I've always loved Mingus. The first time EVER I heard Eric Dolphy was in his leaping solo on Hora Decubitas. (my memory may be wrong abt the title) I had Black Saint, I had Mingus Mingus Mingus, I had Ah Um, I had ....most of it. I've never heard this one before, the one you're presenting. How exciting! Thanks, Bret
Brillaint piece on Mingus! Your point about the bass as protagonist rather than accompanist really captures what made him revolutionary. That shift fundamentaly changed how we think about rhythm sections in jazz, it gave the bassline a narrative voice instead of just a timekeping role. I remember first hearing Haitian Fight Song and being shocked by how much storytelling could come from those thick strings, totally changed how I listened to ensemble dynamics.
Well said, thanks!
Hey Bret, Great Article!!! Mingus was One of a Kind. "Mingus A Um" to this Day Is Such a Transformative Album and Should Be Listened even today. Great Piece My Friend Always Keep Jazz Alive
Mingus, Pithencanthropus Erectus. Discovered by me at around 13yo. If I could write like you I could try words, but I cannot. It has never changed. I have some Mingus stories but I am sure you do too.
As always, thanx for writing, and posting the recording.
I love Mingus. All of him. When I heard his bass playing I realized the bass wasn't just an instrument with a rich, resonant tone, but a violently expressive, lyrical monster.
But one of the reasons I'm most grateful to Mingus is for introducing me to Jackie McLean.
I'd never heard of the guy. Then his solo on Moanin' slayed me. I love Charlie Parker, but something about McLean's timbre announced, "THAT'S how the alto is supposed to sound."
Beneath the Underdog is hilarious. One of my favourite jazz autobiographies next to Raise Up Off Me by Hampton Hawes and Straight Life by Art and Laurie Pepper.
Joni Mitchell seems to like bass players. The Mingus album is great, but what really moves me is her record Heijira: some of my favourite Jaco Pastorius on that.
Wow, that's a totally different composition. And so many artists. And birds, no less!
Thanks for the jazz education, as always!
Excellent piece, Bret.
he’s up there on the Mount Rushmore of Jazz musicians for me…. And besides his musical contributions his eggnog recipe is quite something
Spot-on analysis of how Mingus turned the bass into a narrative voice rather than just timekeeper. The "Haitian Fight Song" example really captures this, where the bass doesn't just support the harmony but drives the entire emotional arc of the piece. I've always thought his approach to collective improvisation in the Jazz Workshops was like controlled chaos, where he set boundaries butexpected musicians to push against them. That tension between structure and freedom is probably what keeps his music sounding so alive decades later.
I like the Stanley Clarke rendetion of Pork Pie Hat.
Thank you Brett for not only another well written piece but perfectly timed prompt for a Monday with Mingus. ✨🎶( It’s actually Friday but in my mind and soul sure seems like Monday. 🙃 )
Thanks Bret again for a great piece about a great man, a great composer and great sound-maker. I got to know Mingus from the inside, so to speak, when I read "Beneath the Underdog" in 1976, when I was 21. I loved getting that glimpse into the world(s) of genius sound-makers, loved hearing his thoughts about Charlie Parker and Eric Dolphy and others, and was appalled to read about the tough world black musicians had to deal with day in day out..
"Goodbye Pork Pie Hat" is one of the most beautiful tunes ever written, and "Better Git It in your Soul" will always stoke up a fire instantly in my soul whenever I hear it.
On 15 July 1977 I actually saw Mingus live at the North Sea Jazz festival. I was star struck, adrenaline oozing from my ears... He started off with Better git it in your soul, but had to start three times over! The sound technician had not understood about setting up the monitors properly, so Mingus politely and in a friendly manner had to remind him repeatedly to turn up the bass! ;) After the concert people were lining up for an autograph. Reluctantly I decided to join the queue, then realized I should have brought my copy of "Beneath the Underdog", then the person in front of me gave Mingus a pen that didn't work... Mingus tried a few times to make it work, it didn't, and he said "I'm superstitious", and moved on, leaving me standing there empty handed.
That same night on 15 July 1977, I also saw Max Roach and Dizzy Gillespie. Many years later I realized I had seen 3/5 of the Massey Hall line-up. Charlie Parker would only have been 57 had he lived...