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Charles Mingus

Performance for the U.S. Bicentennial, New York City, July 4, 1976.
Photo by Tom Marcello
Background information
Birth name Charles Mingus, Jr.
Born April 22, 1922(1922-04-22)
US Army Base in Nogales, Arizona
Origin Los Angeles, California
Died January 5, 1979 (aged 56)
Cuernavaca, Mexico
Genres Bebop
Avant-garde jazz
Occupations Bassist, Composer, Bandleader
Instruments Double bass, Piano, Cello, Trombone
Years active 1943 - 1979
Labels Debut, Impulse!, Candid, Atlantic, Blue Note, Mercury, Columbia

Charles Mingus, Jr. (April 22, 1922 – January 5, 1979) was an American jazz musician, composer, bandleader, and human rights activist.

Having released numerous records of high regard, Mingus is considered one of the most important composers and performers of jazz as well as a pioneer in bass technique. Dozens of musicians passed through his bands and later went on to impressive careers. Mingus was also influential and creative as a band leader, recruiting talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations.

Nearly as well known as his ambitious music was Mingus' often fearsome temperament, which earned him the nickname "The Angry Man of Jazz." His refusal to compromise his musical integrity led to many on-stage eruptions, exhortations to musicians, and dismissals.[1]

Most of Mingus's music retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third Stream, free jazz, and even classical music. Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz. Mingus focused on collective improvisation, similar to the old New Orleans Jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. He strove to create unique music to be played by unique musicians.

Because of his brilliant writing for mid-size ensembles—and his catering to and emphasizing the strengths of the musicians in his groups—Mingus is often considered the heir apparent to Duke Ellington, for whom he expressed unqualified admiration. Indeed, Dizzy Gillespie had once claimed Mingus reminded him "of a young Duke", citing their shared "organizational genius."[2]

Although Mingus' music was once believed to be too difficult to play without Mingus' leadership, many musicians play Mingus compositions today, from those who play with the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra, to the high school students who play the charts and compete in the Charles Mingus High School Competition.[3]

In 1988, a grant from the National Endowment for the Arts[4] made possible the cataloging of Mingus compositions, which were then donated to the Music Division of the New York Public Library[5] for public use. In 1993, The Library of Congress acquired Mingus's collected papers — including scores, sound recordings, correspondence and photos — in what they described as "the most important acquisition of a manuscript collection relating to jazz in the Library's history".[6]




Early life and career

Charles Mingus was born in Nogales, Arizona. He was raised largely in the Watts area of Los Angeles, California. His mother's paternal heritage was Chinese and English, while historical records indicate that his father was the illegitimate offspring of a black farmhand and his Swedish employer's white granddaughter.[7]

His mother allowed only church-related music in their home, but Mingus developed an early love for jazz, especially the music of Duke Ellington. He studied trombone and later cello. Much of the cello technique he learned was applicable to double bass when he took up the instrument in high school. He studied five years with H. Rheinshagen, principal bassist of the New York Philharmonic, and compositional techniques with Lloyd Reese.[8]

Beginning in his teen years, Mingus was writing quite advanced pieces; many are similar to Third Stream because they incorporate elements of classical music. A number of them were recorded in 1960 with conductor Gunther Schuller, and released as Pre-Bird, referring to Charlie "Bird" Parker; Mingus was one of many musicians whose perspectives on music were altered by Parker into "pre- and post-Bird" eras.

Mingus gained a reputation as something of a bass prodigy. His first major professional job was playing with former Ellington clarinetist Barney Bigard. He toured with Louis Armstrong in 1943, and by early 1945 was recording in Los Angeles in a band led by Russell Jacquet and which also included Teddy Edwards, Maurice Simon, Bill Davis and Chico Hamilton, and in May that year, in Hollywood, again with Teddy Edwards, in a band lead by Howard McGhee.[9] He then played with Lionel Hampton's band in the late 1940s; Hampton performed and recorded several of Mingus's pieces. A popular trio of Mingus, Red Norvo and Tal Farlow in 1950 and 1951 received considerable acclaim, but Mingus' mixed origin caused problems with club owners and he left the group. Mingus was briefly a member of Ellington's band in 1953, as a substitute for bassist Wendell Marshall. Mingus's notorious temper led to his being one of the few musicians personally fired by Ellington (Bubber Miley and drummer Bobby Durham are among the others), after an on-stage fight between Mingus and Juan Tizol.[10]

Also in the early 1950s, before attaining commercial recognition as a bandleader, Mingus played gigs with Charlie Parker, whose compositions and improvisations greatly inspired and influenced him. Mingus considered Parker the greatest genius and innovator in jazz history, but he had a love-hate relationship with Parker's legacy. Mingus blamed the Parker mythology for a derivative crop of pretenders to Parker's throne. He was also conflicted and sometimes disgusted by Parker's self-destructive habits and the romanticized lure of drug addiction they offered to other jazz musicians. In response to the many sax players who imitated Parker, Mingus titled a song, "If Charlie Parker were a Gunslinger, There'd be a Whole Lot of Dead Copycats" (released on Mingus Dynasty as "Gunslinging Bird").

Based in New York

In 1952 Mingus co-founded Debut Records with Max Roach, in order to conduct his recording career as he saw fit; the name originated with a desire to document unrecorded young musicians. Despite this, the best known recording the company issued was of the most prominent figures in bebop. On May 15, 1953, Mingus joined Dizzy Gillespie, Parker, Bud Powell, and Roach for a concert at Massey Hall in Toronto, which is the last recorded documentation of the two lead instrumentalists playing together. After the event, Mingus chose to overdub his barely-audible bass part back in New York; the original version was issued later. The two 10" albums of the Massey Hall concert (one featured the trio of Powell, Mingus and Roach) were among Debut Records' earliest releases. Mingus may have objected to the way the major record companies treated musicians, but Gillespie once commented that he did not receive any royalties "for years and years" for his Massey Hall appearance. The records though, are often regarded as among the finest live jazz recordings.

In 1955, Mingus was involved in a notorious incident while playing a club date billed as a "reunion" with Parker, Powell, and Roach. Powell, who had suffered from alcoholism and mental illness for years (possibly exacerbated by a severe police beating and electroshock treatments), had to be helped from the stage, unable to play or speak coherently. As Powell's incapacitation became apparent, Parker stood in one spot at a microphone, chanting "Bud Powell...Bud Powell..." as if beseeching Powell's return. Allegedly, Parker continued this incantation for several minutes after Powell's departure, to his own amusement and Mingus' exasperation. Mingus took another microphone and announced to the crowd, "Ladies and gentlemen, please don't associate me with any of this. This is not jazz. These are sick people."[11] This was Parker's last public performance; about a week later Parker died after years of alcohol and drug abuse.

Mingus often worked with a mid-sized ensemble (around 8–10 members) of rotating musicians known as the Jazz Workshop. Mingus broke new ground, constantly demanding that his musicians be able to explore and develop their perceptions on the spot. Those who joined the Workshop (or Sweatshops as they were colorfully dubbed by the musicians) included Pepper Adams, Jaki Byard, Booker Ervin, John Handy, Jimmy Knepper, Charles McPherson and Horace Parlan. Mingus shaped these musicians into a cohesive improvisational machine that in many ways anticipated free jazz. Some musicians dubbed the workshop a "university" for jazz.

Pithecanthropus Erectus among other creations

The decade which followed is generally regarded as Mingus's most productive and fertile period. Impressive new compositions and albums appeared at an astonishing rate: some thirty records in ten years, for a number of record labels (Atlantic Records, Candid, Columbia Records, Impulse! Records and others), a pace perhaps unmatched by any other musician except Ellington.

Mingus had already recorded around ten albums as a bandleader, but 1956 was a breakthrough year for him, with the release of Pithecanthropus Erectus, arguably his first major work as both a bandleader and composer. Like Ellington, Mingus wrote songs with specific musicians in mind, and his band for Erectus included adventurous, though distinctly blues-oriented musicians, piano player Mal Waldron, alto saxophonist Jackie McLean and the Sonny Rollins-influenced tenor of J. R. Monterose. The title song is a ten minute tone poem, depicting the rise of man from his hominid roots (Pithecanthropus erectus) to an eventual downfall. A section of the piece was free improvisation, free of structure or theme.

Another album from this period, The Clown (1957 also on Atlantic Records), with an improvised story on the title track by humorist Jean Shepherd, was the first to feature drummer Dannie Richmond. Richmond would be his preferred drummer until Mingus's death in 1979. The two men formed one of the most impressive and versatile rhythm sections in jazz. Both were accomplished performers seeking to stretch the boundaries of their music while staying true to its roots. When joined by pianist Jaki Byard, they were dubbed "The Almighty Three".[12]

Mingus Ah Um and other works

Mingus witnessed Ornette Coleman's legendary—and controversial—1960 appearances at New York City's Five Spot jazz club. Though he initially expressed rather mixed feelings for Coleman's innovative music: "...if the free-form guys could play the same tune twice, then I would say they were playing something...Most of the time they use their fingers on the saxophone and they don't even know what's going to come out. They're experimenting." Mingus was in fact a prime influence of the early free jazz era. He formed a quartet with Richmond, trumpeter Ted Curson and saxophonist Eric Dolphy. This ensemble featured the same instruments as Coleman's quartet, and is often regarded as Mingus rising to the challenging new standard established by Coleman. Charles Mingus Presents Charles Mingus was the quartet's only album.

Only one misstep occurred in this era: 1962's Town Hall Concert. An ambitious program, it was unfortunately plagued with troubles from its inception.[13] Mingus's vision, now known as Epitaph, was finally realized by conducter Gunther Schuller in a concert in 1989, 10 years after Mingus's death.

The Black Saint and the Sinner Lady and the other Impulse! albums

In 1963, Mingus released The Black Saint and the Sinner Lady, a sprawling, multi-section masterpiece, described as "one of the greatest achievements in orchestration by any composer in jazz history."[14] The album was also unique in that Mingus asked his psychotherapist to provide notes for the record.

1963 also saw the release of an unaccompanied album Mingus Plays Piano. A few pieces were entirely improvised and drew on classical music as much as jazz, preceding Keith Jarrett's landmark The Köln Concert in those respects by some twelve years.

In 1964 Mingus put together one of his best-known groups, a sextet including Dannie Richmond, Jaki Byard, Eric Dolphy, trumpeter Johnny Coles, and tenor saxophonist Clifford Jordan. The group was recorded frequently during its short existence; Coles fell ill during a European tour. On June 28, 1964 Dolphy died while in Berlin. 1964 was also the year that Mingus met his future wife, Sue Graham Ungaro. The couple were married in 1966 by Allen Ginsberg.[15] Facing financial hardship, Mingus was evicted from his New York home in 1966.


Mingus's pace slowed somewhat in the late 1960s and early 1970s. In 1974 he formed a quintet with Richmond, pianist Don Pullen, trumpeter Jack Walrath and saxophonist George Adams. They recorded two well-received albums, Changes One and Changes Two. Mingus also played with Charles McPherson in many of his groups during this time. Cumbia and Jazz Fusion in 1976 sought to blend Colombian music (the "Cumbia" of the title) with more traditional jazz forms. In 1971, Mingus taught for a semester at the University at Buffalo, The State University of New York as the Slee Professor of Music.[16]

Later career and death

By the mid-1970s, Mingus was suffering from amyotrophic lateral sclerosis, popularly known as Lou Gehrig's disease, a wastage of the musculature. His once formidable bass technique suffered, until he could no longer play the instrument. He continued composing, however, and supervised a number of recordings before his death.

He did not complete his final project of an album named after him with singer Joni Mitchell, which included lyrics added by Mitchell to Mingus compositions, including "Goodbye Pork Pie Hat," among Mitchell originals and short, spoken word duets and home recordings of Mitchell and Mingus. The album featured the talents of Wayne Shorter, Herbie Hancock, and another influential bassist and composer, Jaco Pastorius. Mingus died aged 56 in Cuernavaca, Mexico where he had traveled for treatment and convalescence. His ashes were scattered in the Ganges River.


The Mingus Big Band

The music of Charles Mingus is currently being performed and reinterpreted by the Mingus Big Band, which, starting October 2008, plays every Monday at Jazz Standard in New York City, and often tours the rest of the U.S. and Europe. Elvis Costello has written lyrics for a few Mingus pieces. He had once sung lyrics for one piece, "Invisible Lady", being backed by the Mingus Big Band on the album, Tonight at Noon: Three of Four Shades of Love.[17]

In addition to the Mingus Big Band, there is the Mingus Orchestra and the Mingus Dynasty, each of which are managed by Jazz Workshop, Inc., and run by Mingus's widow Sue Graham Mingus.


Epitaph is considered to be one of Charles Mingus' masterpieces. The composition is 4,235 measures long, requires two hours to perform, and is one of the longest jazz pieces ever written. Epitaph was only completely discovered during the cataloging process after his death by musicologist Andrew Homzy. With the help of a grant from the Ford Foundation, the score and instrumental parts were copied, and the piece itself was premiered by a 30-piece orchestra, conducted by Gunther Schuller. This concert was produced by Mingus's widow, Sue Graham Mingus, at Alice Tully Hall on June 3, 1989, ten years after his death. It was performed again at several concerts in 2007. The performance at Walt Disney Concert Hall is available on NPR. The complete score was published in 2008 by Hal Leonard.


Written throughout the 1960s, Mingus's sprawling, exaggerated, quasi-autobiography, Beneath the Underdog: His World as composed by Mingus.[18], was published in 1971. Written in a "stream of consciousness" style, it covered several aspects of Mingus's life that had previously been off-record.

In addition to his musical and intellectual proliferation, Mingus goes into great detail about his perhaps overstated sexual exploits. He claims to have had over 31 affairs over the course of his life (including 26 prostitutes in one sitting). This does not include any of his five wives (he claims to have been married to two of them simultaneously). In addition, he asserts that he held a brief career as a pimp. This has never been confirmed.

Mingus's autobiography also serves as an insight into his psyche, as well as his attitudes about race and society.[19] Autobiographic accounts of abuse at the hands of his father from an early age, being bullied as a child, his removal from a white musician's union, and grappling with disapproval while married to white women and other examples of the hardship and prejudice.[20]

Cover versions

Considering the number of compositions that Charles Mingus has written, his works have not been recorded as often as comparable jazz composers. About the only Mingus tribute album recorded in his lifetime was baritone saxophonist Pepper Adams's album, Pepper Adams Plays Charlie Mingus in 1963. Of all his works, his elegant elegy for Lester Young, "Goodbye Pork Pie Hat" (from Mingus Ah Um) has probably had the most recordings. Besides recordings from the expected jazz artists, the song has also been recorded by musicians as disparate as Jeff Beck, Andy Summers, Eugene Chadbourne, and Bert Jansch and John Renbourn with and without Pentangle. Joni Mitchell sang a version with lyrics that she wrote for the song. Elvis Costello has recorded "Hora Decubitus" (from Mingus Mingus Mingus Mingus Mingus) on My Flame Burns Blue (2006). "Better Git It in Your Soul" was covered by Davey Graham on his album "Folk, Blues, and Beyond." Trumpeter Ron Miles performs a version of "Pithecanthropus Erectus" on his EP "Witness." New York Ska Jazz Ensemble has done a cover of Mingus' "Haitian Fight Song", as have Pentangle and others. Hal Willner's 1992 tribute album Weird Nightmare: Meditations on Mingus (Columbia Records) contains idiosyncratic renditions of Mingus's works involving numerous popular musicians including Chuck D, Keith Richards, Henry Rollins and Dr. John. The Italian band Quintorigo recorded an entire album devoted to Mingus' music, titled Play Mingus. Gunther Schuller's edition of Mingus' "Epitaph" which premiered at Lincoln Center in 1989 was subsequently released on Columbia/Sony Records.
One of the ultimate tributes to Mingus came on September 29, 1969 at a festival honoring him. Duke Ellington performed The Clown at the festival. Duke himself did Jean Shepherd's naration. As of this date, this recording has not been issued.

Personality and temper

As respected as Mingus was for his musical talents, he was sometimes feared for his occasional violent onstage temper, which was at times directed at members of his band, and other times aimed at the audience. He was physically large, prone to obesity (especially in his later years), and was by all accounts often intimidating and frightening when expressing anger or displeasure. Mingus was prone to clinical depression. He tended to have brief periods of extreme creative activity, intermixed with fairly long periods of greatly decreased output.

When confronted with a nightclub audience talking and clinking ice in their glasses while he performed, Mingus stopped his band and loudly chastised the audience, stating "Isaac Stern doesn't have to put up with this shit."[21] He once played a prank on a similar group of nightclub chatterers by silencing his band for several seconds, allowing the loud audience members to be clearly heard, then continuing as the rest of the audience snickered at the oblivious "soloists".[citation needed]

Guitarist and singer Jackie Paris was a first-hand witness to Mingus's irascibility. Paris recalls his time in the Jazz Workshop: "He chased everybody off the stand except [drummer] Paul Motian and me... The three of us just wailed on the blues for about an hour and a half before he called the other cats back."[22]

On October 12, 1962, Mingus punched Jimmy Knepper in the mouth while the two men were working together at Mingus's apartment on a score for his upcoming concert at New York Town Hall and Knepper refused to take on more work. The blow from Mingus broke off a crowned tooth and its underlying stub.[23] According to Knepper, this ruined his embouchure and resulted in the permanent loss of the top octave of his range on the trombone - a significant handicap for any professional trombonist. This attack temporarily ended their working relationship and Knepper was unable to perform at the concert. Charged with assault, Mingus appeared in court in January, 1963 and was given a suspended sentence. Knepper would again work with Mingus in 1977 and played extensively with the Mingus Dynasty, formed after Mingus' death in 1979.[24]

Mingus was evicted from his apartment at 5 Great Jones Street in New York City for nonpayment of rent, captured in the film "Mingus: 1968", by Thomas Reichman, which also features Mingus performing in clubs and, in the apartment, shooting a shotgun, composing at the piano, and discussing love, art, and politics and the music school he had hoped to create.

Awards and honors

  • 1971 Guggenheim Fellowship (Music Composition)
  • 1971: Inducted in the Down Beat Jazz Hall of Fame.
  • 1988: The National Endowment for the Arts provided grants for a Mingus nonprofit called "Let My Children Hear Music" which cataloged all of Mingus' works. The microfilms of these works were given to the Music Division of the New York Public Library where they are currently available for study.[4]
  • 1993: The Library of Congress acquired Mingus's collected papers — including scores, sound recordings, correspondence and photos — in what they described as "the most important acquisition of a manuscript collection relating to jazz in the Library's history".[25]
  • 1995: The United States Postal Service issued a stamp in his honor.
  • 1997: Was posthumously awarded the Grammy Lifetime Achievement Award.
  • 1999: The album Mingus Dynasty (1959) was inducted in the Grammy Hall of Fame.
  • 2005: Inducted in the Jazz at Lincoln Center, Nesuhi Ertegun Jazz Hall of Fame.


As bandleader

  • Baron Mingus - West Coast 1945-49 (1949, Uptown)
  • Strings and Keys (duo with Spaulding Givens) (1951, Debut)
  • The Young Rebel (1952, Swingtime)
  • The Charles Mingus Duo and Trio (1953, Fantasy)
  • Charles Mingus Octet (1953, Debut)
  • The Moods of Mingus (1954, Savoy)
  • Jazzical Moods (1954, Bethlehem), later reissued as The Jazz Experiments of Charles Mingus
  • Mingus at the Bohemia (1955, Debut)
  • The Charles Mingus Quintet & Max Roach (1955, Debut)
  • Pithecanthropus Erectus (1956, Atlantic)
  • The Clown (1957, Atlantic)
  • Mingus Three (1957, Jubilee)
  • East Coasting (1957, Bethlehem)
  • A Modern Jazz Symposium of Music and Poetry (1957, Bethlehem)
  • Blues & Roots (1959, Atlantic)
  • Mingus Ah Um (1959, Columbia)
  • Mingus Dynasty (1959, Columbia)
  • Jazz Portraits: Mingus in Wonderland (1959, United Artists)
  • Pre-Bird (aka Mingus Revisited) (1960, Mercury)
  • Mingus at Antibes (1960, Atlantic)
  • Charles Mingus Presents Charles Mingus (1960, Candid)
  • Reincarnation of a Lovebird (1960, Candid)
  • Tonight at Noon (1961, Atlantic)
  • Vital Savage Horizons (1962, Alto)
  • Tempo di Jazz (1962, Tempo di Jazz)
  • Town Hall Concert (1962, Blue Note)
  • Oh Yeah (1962, Atlantic)
  • Tijuana Moods (1962, RCA)
  • The Black Saint and the Sinner Lady (1963, Impulse!)
  • Mingus Mingus Mingus Mingus Mingus (1963, Impulse!; sometimes referred to as Five Mingus)
  • Mingus Plays Piano (1963, Impulse!)
  • Soul Fusion (1963, Pickwick live)
  • Revenge! (live 1964 performance with Eric Dolphy, 32 Jazz; previously issued by Prestige as The Great Paris Concert)
  • Town Hall Concert (1964, Fantasy)
  • Concertgebouw Amsterdam, Vol. 1 (1964, Ulysse Musique)
  • Charles Mingus Live In Oslo 1964 Featuring Eric Dolphy (1964, Jazz Up)
  • Charles Mingus Sextet Live In Stockholm 1964 (1964, Royal Jazz)
  • Charles Mingus Sextet Live In Europe (1964, Unique Jazz)
  • The Great Concert Of Charles Mingus (1964, America)
  • Charles Mingus Sextet with Eric Dolphy Cornell 1964 (2007, Blue Note)
  • Mingus In Europe (1964, Enja)
  • Mingus In Stuttgart, April 28, 1964 Concert (1964, Unique Jazz)
  • Right Now: Live At The Jazz Workshop (1964, Fantasy)
  • Mingus At Monterey (1964, Mingus JWS)
  • Music Written For Monterey 1965. Not Heard... Played In Its Entirety At UCLA, Vol. 1&2 (1965, Mingus JWS)
  • Charles Mingus - Cecil Taylor (1966, Ozone)
  • Statements (1969, Joker)
  • Paris TNP (1970, Ulysse Musique)
  • Charles Mingus Sextet In Berlin (1970, Beppo)
  • Charles Mingus (1971, Columbia)
  • Charles Mingus And Friends In Concert (1972, Columbia)
  • Charles Mingus Quintet Featuring Dexter Gordon (1972, White Label)
  • Let My Children Hear Music (1972, Columbia)
  • Passions of a Man (1973, Atlantic)
  • Mingus at Carnegie Hall (1974, Atlantic)
  • Changes One (1974, Atlantic)
  • Changes Two (1974, Atlantic)
  • Mingus Moves (1974, Atlantic)
  • Village Vanguard 1975 (1975, Blue Mark Music)
  • The Music Of Charles Mingus (1977, Bayside)
  • Stormy & Funky Blues (1977)
  • Cumbia & Jazz Fusion (1977, Atlantic)
  • Three or Four Shades of Blues (1977)
  • His Final Work (1977)
  • Something Like a Bird (1979, Atlantic) (Mingus does not play on this session)
  • Me, Myself An Eye (1979, Atlantic) (Mingus does not play on this session)
  • Epitaph (1990, Columbia) (Mingus does not play on this session)
  • Mingus Mysterious Blues (1990, Candid) (Mingus does not play on this session)

As a sideman


  • 1959, Mingus contributed most of the music for John Cassavetes's gritty New York City film, Shadows.
  • 1961, Mingus appeared as a bassist and actor in the British film All Night Long.
  • 1968, Thomas Reichman directed the documentary Mingus: Charlie Mingus 1968.
  • 1991, Ray Davies produced a documentary entitled Weird Nightmare. It contains footage of Mingus and interviews with artists making Hal Willner's tribute album of the same name, including Elvis Costello, Charlie Watts, Keith Richards, and Vernon Reid.
  • Charles Mingus: Triumph of the Underdog is a 78 minute long documentary film on Charles Mingus directed by Don McGlynn and released in 1998.


  1. ^ NYT review of 1965 UCLA concert
  2. ^ David Simpson. "Myself When I Am Real: The Life and Music of Charles Mingus, by Gene Santoro". Jazz Institute of Chicago book review. Retrieved 2008-03-25. 
  3. ^ Ernest Barteldes (2009-02-18). "Thirty Years On, The Music Remains Strong; Charles Mingus’ legacy revisited at the Manhattan School of Music". Retrieved 2009-10-26. 
  4. ^ a b NEA press release
  5. ^ NYPL catalog page
  6. ^ Library of Congress press release
  7. ^ Myself When I am Real: The Life and Music of Charles Mingus, Gene Santoro (Oxford University Press, 1994) ISBN 0195097335
  8. ^ "Charles Mingus | Charles "Baron" Mingus: West Coast, 1945-49". 2001-02-01. Retrieved 2009-10-08. 
  9. ^ Jazz Discography Project. "Charles Mingus Catalog at". Retrieved 2009-10-08. 
  10. ^ Hentoff, Nat (1978). Jazz Is. W H Allen. pp. 34–35. 
  11. ^ "Five More Articles on Jazz (Rexroth)". Bureau of Public Secrets article. 
  12. ^ Saying Something: Jazz Improvisation and Interaction, Ingrid Monson (University of Chicago Press, 1997) ISBN 0226534782
  13. ^ Gene Santoro (2000-06-06). "Town Hall Train Wreck". The Village Voice. Retrieved 2008-03-25. 
  14. ^ "The Black Saint and the Sinner Lady". Album overview on Allmusic. 
  15. ^ "Jazz". 1979-01-05. Retrieved 2009-10-08. 
  16. ^ The Musical Styles of Charles Mingus, (Warner Bros. Publications, Jazz Workshop, 1982)
  17. ^ "Tonight at Noon: Three of Four Shades of Love". Album overview on Allmusic. 
  18. ^ Mingus, Charles. Beneath the Underdog: His Life as Composed by Mingus. New York, NY: Vintage, 1991.
  19. ^ Ratliff, Ben (1998-01-18). "JAZZ VIEW; Hearing Mingus Again, Seeing Him Anew - The". New York Times. Retrieved 2009-10-08. 
  20. ^ Friday, Oct. 02, 1964 (1964-10-02). "Jazz: Beneath the Underdog". TIME.,9171,940521-2,00.html. Retrieved 2009-10-08. 
  21. ^ "Tonight at Noon by Sue Graham Mingus, p. 22". 
  22. ^ "Paris When He Sizzles". Village Voice article by Will Friedwald. 
  23. ^ Santoro, 2000
  24. ^ "Jimmy Knepper - Obituaries, News". The Independent. Retrieved 2009-10-08. 
  25. ^ Library of Congress press release, June 11, 1993. Rule, S. "Library of Congress buys Charles Mingus Archive", New York Times, June 14, 1993

Further reading

  • Beneath the Underdog, his autobiography, presents a vibrantly boastful and possibly apocryphal account of his early career as a pimp.
  • Myself When I Am Real: The Life and Music of Charles Mingus by Gene Santoro, Oxford University Press (November 1, 2001), 480 pages, ISBN 0-19-514711-1
  • Mingus: A Critical Biography by Brian Priestley, Da Capo Press (April 1, 1984), 340 pages, ISBN 0-306-80217-1
  • Tonight At Noon: A Love Story by Sue Graham Mingus, Da Capo Press; Reprint edition (April, 2003), 272 pages, ISBN 0-306-81220-7. Written by his widow.
  • Charles Mingus - More Than a Fake Book by Charles Mingus, Hal Leonard Corporation (November 1, 1991), 160 pages, ISBN 0-7935-0900-9. Includes 2 CDs, photos, discography, music transcriptions, a Mingus comic book promoting his anti-bootlegging project, etc.
  • Mingus/Mingus : Two Memoirs by Janet Coleman, Al Young, Limelight Editions (August 1, 2004), 164 pages, ISBN 0-87910-149-0
  • I Know What I Know : The Music of Charles Mingus by Todd S. Jenkins, Praeger (2006), 196 pages, ISBN 0-27598-102-9
  • But Beautiful by Geoff Dyer, Abacus (2006), pages 103 - 127, ISBN 0-349-11005-0

External links


Up to date as of January 14, 2010

From Wikiquote

In my music, I'm trying to play the truth of what I am. The reason it's difficult is because I'm changing all the time.

Charles Mingus (22 April 19225 January 1979) was an American jazz bassist, composer, bandleader, and occasional pianist also known for his activism against racial injustice.



  • Since the white man says he came from the evolution of animals, well, maybe the black man didn't. The white man has made so many errors in the handling of people that maybe he did come from a gorilla or a fish and crawl up on the sand and then into the trees. Of course, evolution doesn't take God into consideration. I don't think people learned to do all the things they do through evolution.
    • As quoted in More Than A Fakebook : The Music Of Charles Mingus (1991) by Andrew Homzy


  • Anyone can make the simple complicated. Creativity is making the complicated simple.
  • Good jazz is when the leader jumps on the piano, waves his arms, and yells. Fine jazz is when a tenorman lifts his foot in the air. Great jazz is when he heaves a piercing note for 32 bars and collapses on his hands and knees. A pure genius of jazz is manifested when he and the rest of the orchestra run around the room while the rhythm section grimaces and dances around their instruments.
  • Had I been born in a different country or had I been born white, I am sure I would have expressed my ideas long ago. Maybe they wouldn't have been as good because when people are born free — I can't imagine it, but I've got a feeling that if it's so easy for you, the struggle and the initiative are not as strong as they are for a person who has to struggle and therefore has more to say.
  • I always wanted to be a spontaneous composer.
  • I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around.
  • I'm too busy playing. When I'm playing I don't pay attention to who's listening. When I was listening I listened to symphony orchestras, Beethoven, Bach, Brahms, Stravinsky. You don't listen to one instrument; you listen to music.
  • If someone has been escaping reality, I don't expect him to dig my music.
  • In my music, I'm trying to play the truth of what I am. The reason it's difficult is because I'm changing all the time.
  • It (jazz) isn't like it used to be. The guys aren't together. They're all separated. Individuals now. Bird was a symbol. It was a clique, a clique of people. Who all believed in one thing: gettin' high. And playin'.
  • Just because I'm playing jazz I don't forget about me. I play or write me the way I feel through jazz, or whatever. Music is, or was, a language of the emotions.
  • Let my children have music! Let them hear live music. Not noise. My children! You do what you want with your own!
  • Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity.
  • Most customers, by the time the musicians reach the second set, are to some extent inebriated. They don't care what you play anyway.
  • Most of the soloists at Birdland had to wait for Parker's next record in order to find out what to play next. What will they do now?
  • Please don't associate me with any of this. This is not jazz: these people are sick.
    • At a reunion gig in 1955, in which Bud Powell was drunk and had to be helped from the stand; meanwhile, Charlie Parker allegedly stood at the microphone calling: "Bud Powell, Bud Powell." A week later Parker was dead of cirrhosis of the liver.
  • Tastes are created by the business interests. How else can you explain the popularity of Al Hirt?
  • That sound in tune to you? Sounds sharp to me. Sounds like I'm playing sharp all the time. My singing teacher told us you should do that. Maybe I got it from her. She said singers when they grow old have a tendency to go flat. So if you sing sharp as a young person, as you get older and go flat, you'll be in tune. In other words, it's never thought good to be flat. It means you can't get to the tone.
  • They're singing your praises while stealing your phrases.

Quotes about Mingus

  • Mingus was always a disaster to have around. I loved him, but he was worse than a child. He didn't know how to clean up behind himself. He could cook, but there would be eggs on the floor and the ceiling. Couldn't find his shoes when he had to go to work, didn't have a white shirt, couldn't write a check. All he could really do was play the bass and write.
    • Buddy Collette, as quoted in Central Avenue Sounds (1998), edited by Clora Bryant.

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