Mingus on Mingus (on Mingus)
We’ve been asked to help call attention to a proposed documentary on Charles Mingus and so we will. The filmmaker is Kevin Ellington Mingus and the documentary is called “Mingus on Mingus”. Kevin is Mingus’ grandson and the film will be about his journey to discover “the truth” about his famous grandfather. There’s a video explaining the project at the Website, Charles Mingus Documentary: Mingus on Mingus. I tried to embed it here at Jazz Collector, but my technical prowess was not up to it, so I recommend you go to the site and check it out. They are trying to raise money to fund the film, so if you are a Mingus fan and wish to see another documentary, please feel free. I have my own couple of Mingus stories to contribute. When I was a young journalist starting out I was assigned to interview Mingus, only he didn’t really want to be interviewed. I wrote the article and subsequently posted it at Jazz Collector. In case you missed it the first time, you can find it here, Memories of Mingus. Another story: I was talking to my cousin yesterday and he heard of the time Mingus was playing somewhere in LA and a woman was talking, and talking, and talking, and talking, and he kept looking at her but she kept talking, and talking, and talking, and talking. Finally, Mingus put down his bass, opened his case and pulled out a gun. The woman ran out of the club screaming with Mingus chasing her down the street, firing shots in the air. The great thing about the story, as surreal as it seems, is that there’s no one who knows anything about Mingus who would doubt that it happened, right?
in retrospect, I consider Mingus, with Miles, to be the most brilliant artists to evolve in the second half of the last century.
Already he is taken for granted, but there is still so much to discover, notably in his earlier work for Savoy and Bethlehem.
Thank you Al, for putting Charles in the limelight.
Your welcome, Rudolf. I differ with you on this one. My feeling is Coltrane as the most brilliant artist to evolve in the second half of the last century. Curious as to what our other readers think.
I would have trouble making a decision on the most brilliant two or three artists in the second half of the 20th century but I would that what Coltrane, Mingus, and Miles all brought to the table were different and it’s hard to compare. When I think of Coltrane I think of an intense player, Mingus I think of as more a brilliant composer who could play very well. I think they both represent different branches of Modern Jazz. It’s not apples and oranges, but maybe oranges and grapefruit. Tough to compare.
The most brilliant, innovative and iconic audio artist of the second half of the 20th century brings to mind jazz artists of various genres. It’s heretical to dismiss Monk,Ornette, Ayler and most importantly the world wide influence of the visitor from planet Saturn: Herman Blount a.k.a Sun Ra. This comment isn’t meant to disrespect Miles, Trane, Mingus or all the others who have garnered our deepest love. Just one jazz lovers opinion.
Robert,
I’ve always had problems with making these definitive statements. I would have trouble picking the five most important, or brilliant, or any other strong adjective musician or artist of a time period. I just don’t have that type of personality, but I have a ton of respect for those who do. If you add on Monk and Ornette, to the list of Miles, Trane, and Mingus I would definitely have no argument. I would question adding Ayler or Sun Ra to the list of those above. I’m curious why you would think so?
I love these conversations, even if I’m not very good at them. I have a technical mind, which does not help when discussing art. I know when I love something, but it’s always hard for me to verbalize why. I love hearing people’s reasons, including non professional jazz critics. It tends to inform my exploration of music in a wonderful way.
Mike,
I embrace and respect your response. For over thirty years I championed Trane, Miles, Mingus, Monk and Ornette the primary innovators of 1950 forward jazz. The following fifteen years have adjusted my jazz horizons. Through the medium of live performances and vinyl The Art Ensemble of Chicago, Sun Ra Arkestra, Charles Gayle, David Ware, and many others have for me taken the music to a different level. I do not mean in any manner to denigrate jazz icons, however we all have different levels of appreciation. Listen to the magic of Ra with Gilmore, Marshall Allen,Pat Patrick and the likes. Add a dose of Dolphy, Morgan and Mobley and need I say more?
Robert, I know there was no offense meant. I appreciate the response.
This is the thing, I have this need to want to explain things in a way that follows with a more mathematical approach. Apparently I’ve been this way my whole life. So when I’m thinking of the innovative musicians I’m trying to find a gauge the innovation, what effect has it had on the music. I’ve listened to plenty of Sun Ra, AACM, and many others that are part of the various Avant Garde jazz movements. I find them very fascinating. I honestly don’t connect much on an emotional level, more on an intellectual one. But I could see where someone would consider them innovative. But when Rudolf first made his comment he said “brilliant”. In my view, you can be innovative with connecting with many people on an emotional level. To be brilliant, would require you to connect on an emotional level as well as be innovative and influential. The problem here is that it is very difficult to show that while I connect deeply with a pianist like Sonny Clark on an emotional level, that the next guy doesn’t connect as deeply or more deeply to Muhal Richard Abrams. I have seen Muhal perform before, and was fascinated. But, listening to “Dial S for Sonny” on my stereo promotes a much more emotional reaction for me.
It’s a tough conversation, but really one I try to have with anyone, anywhere.
I knew that any bold statement, in selecting one artist to be on the top, is essentially provocative.
If we water down the concept and go to a choice of the three most brilliant, it would be for me Miles, Mingus and Trane.
I like to read the opinions of others, since I would never have thought of Sun Ra.
Coltrane is the standout for me.
I like this conversation since this is very subbjective and no one at the end will be conviced by the arguments of the others 😉
My brilliant trio of the 20th century is: Mingus, Evans (yes)and hmmm… Miles. Another one (classic): Bartok, Shostakovich and Stravinsky.
I am not at level yet to vote Ayler or Schoenberg even I am fascinated by some pieces they composed / performed.
For me, I love the list of Miles, Mingus, Trane, Monk, & Ornette. From there I can’t make it smaller because they were brilliant in different ways. Also, it’s debateable whether Monk was of the second half of the century since many of his greatest compositions were from the 40s.
Pingback: Jazz Collector’s Greatest Hits | jazzcollector.com