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Author : Charles Mingus,John F. Goodman
Publisher : Univ of California Press
Page : 346 pages
File Size : 54,5 Mb
Release : 2013-04
Category : Music
ISBN : 9780520275232
Collects in-depth interviews with the jazz great, revealing how he saw himself as a performer, how he viewed his peers and predecessors, how he created his extraordinary music, and how he looked at race.
Author : John Goodman
Publisher : Univ of California Press
Page : 350 pages
File Size : 54,9 Mb
Release : 2013-05-20
Category : Music
ISBN : 9780520954687
Charles Mingus is among jazz’s greatest composers and perhaps its most talented bass player. He was blunt and outspoken about the place of jazz in music history and American culture, about which performers were the real thing (or not), and much more. These in-depth interviews, conducted several years before Mingus died, capture the composer’s spirit and voice, revealing how he saw himself as composer and performer, how he viewed his peers and predecessors, how he created his extraordinary music, and how he looked at race. Augmented with interviews and commentary by ten close associates—including Mingus’s wife Sue, Teo Macero, George Wein, and Sy Johnson—Mingus Speaks provides a wealth of new perspectives on the musician’s life and career. As a writer for Playboy, John F. Goodman reviewed Mingus’s comeback concert in 1972 and went on to achieve an intimacy with the composer that brings a relaxed and candid tone to the ensuing interviews. Much of what Mingus shares shows him in a new light: his personality, his passions and sense of humor, and his thoughts on music. The conversations are wide-ranging, shedding fresh light on important milestones in Mingus’s life such as the publication of his memoir, Beneath the Underdog, the famous Tijuana episodes, his relationships, and the jazz business.
Author : Gene Santoro
Publisher : Oxford University Press
Page : 480 pages
File Size : 41,5 Mb
Release : 2001-11-29
Category : Music
ISBN : 9780198025788
Charles Mingus was one of the most innovative jazz musicians of the 20th Century, and ranks with Ives and Ellington as one of America's greatest composers. By temperament, he was a high-strung and sensitive romantic, a towering figure whose tempestuous personal life found powerfully coherent expression in the ever-shifting textures of his music. Now, acclaimed music critic Gene Santoro strips away the myths shrouding "Jazz's Angry Man," revealing Mingus as more complex than even his lovers and close friends knew. A pioneering bassist and composer, Mingus redefined jazz's terrain. He penned over 300 works spanning gutbucket gospel, Colombian cumbias, orchestral tone poems, multimedia performance, and chamber jazz. By the time he was 35, his growing body of music won increasing attention as it unfolded into one pioneering musical venture after another, from classical-meets-jazz extended pieces to spoken-word and dramatic performances and television and movie soundtracks. Though critics and musicians debated his musical merits and his personality, by the late 1950s he was widely recognized as a major jazz star, a bellwether whose combined grasp of tradition and feel for change poured his inventive creativity into new musical outlets. But Mingus got headlines less for his art than for his volatile and often provocative behavior, which drew fans who wanted to watch his temper suddenly flare onstage. Impromptu outbursts and speeches formed an integral part of his long-running jazz workshop, modeled partly on dramatic models like Orson Welles' Mercury Theatre. Keeping up with the organized chaos of Mingus's art demanded gymnastic improvisational skills and openness from his musicians-which is why some of them called it "the Sweatshop." He hired and fired musicians on the bandstand, attacked a few musicians physically and many more verbally, twice threw Lionel Hampton's drummer off the stage, and routinely harangued chattering audiences, once chasing a table of inattentive patrons out of the FIVE SPOT with a meat cleaver. But the musical and mental challenges this volcanic man set his bands also nurtured deep loyalties. Key sidemen stayed with him for years and even decades. In this biography, Santoro probes the sore spots in Mingus's easily wounded nature that helped make him so explosive: his bullying father, his interracial background, his vulnerability to women and distrust of men, his views of political and social issues, his overwhelming need for love and acceptance. Of black, white, and Asian descent, Mingus made race a central issue in his life as well as a crucial aspect of his music, becoming an outspoken (and often misunderstood) critic of racial injustice. Santoro gives us a vivid portrait of Mingus's development, from the racially mixed Watts where he mingled with artists and writers as well as mobsters, union toughs, and pimps to the artistic ferment of postwar Greenwich Village, where he absorbed and extended the radical improvisation flowing through the work of Allen Ginsberg, Jackson Pollock, and Charlie Parker. Indeed, unlike Most jazz biographers, Santoro examines Mingus's extra-musical influences--from Orson Welles to Langston Hughes, Farwell Taylor, and Timothy Leary--and illuminates his achievement in the broader cultural context it demands. Written in a lively, novelistic style, Myself When I Am Real draws on dozens of new interviews and previously untapped letters and archival materials to explore the intricate connections between this extraordinary man and the extraordinary music he made.
Author : Brigid Cohen
Publisher : University of Chicago Press
Page : 390 pages
File Size : 46,5 Mb
Release : 2022-05-05
Category : Music
ISBN : 9780226818023
Through archival work and storytelling, Musical Migration and Imperial New York revises many inherited narratives about experimental music and art in postwar New York. From the urban street level of music clubs and arts institutions to the world-making routes of global migration and exchange, this book redraws the map of experimental art to reveal the imperial dynamics and citizenship struggles that continue to shape music in the United States. Beginning with the material conditions of power that structured the cityscape of New York in the early Cold War years, Brigid Cohen looks at a wide range of artistic practices (concert music, electronic music, jazz, performance art) and actors (Edgard Varèse, Charles Mingus, Yoko Ono, and Fluxus founder George Maciunas) as they experimented with new modes of creativity. Cohen links them with other migrant creators vital to the city’s postwar culture boom, creators whose stories have seldom been told (Halim El-Dabh, Michiko Toyama, Vladimir Ussachevsky). She also gives sustained and serious treatment to the work of Yoko Ono, something long overdue in music scholarship. Musical Migration and Imperial New York is indispensable reading, offering a new understanding of global avant-gardes and American experimental music as well as the contrasting feelings of belonging and exclusion on which they were built.
Author : Jason C. Bivins
Publisher : Oxford University Press
Page : 384 pages
File Size : 51,6 Mb
Release : 2015-04-01
Category : Music
ISBN : 9780190230937
In Spirits Rejoice! Jason Bivins explores the relationship between American religion and American music, and the places where religion and jazz have overlapped. Much writing about jazz tends toward glorified discographies or impressionistic descriptions of the actual sounds. Rather than providing a history, or series of biographical entries, Spirits Rejoice! takes to heart a central characteristic of jazz itself and improvises, generating a collection of themes, pursuits, reoccurring foci, and interpretations. Bivins riffs on interviews, liner notes, journals, audience reception, and critical commentary, producing a work that argues for the centrality of religious experiences to any legitimate understanding of jazz, while also suggesting that jazz opens up new interpretations of American religious history. Bivins examines themes such as musical creativity as related to specific religious traditions, jazz as a form of ritual and healing, and jazz cosmologies and metaphysics. Spirits Rejoice! connects Religious Studies to Jazz Studies through thematic portraits, and a vast number of interviews to propose a new, improvisationally fluid archive for thinking about religion, race, and sound in the United States. Bivins's conclusions explore how the sound of spirits rejoicing challenges not only prevailing understandings of race and music, but also the way we think about religion. Spirits Rejoice! is an essential volume for any student of jazz, American religion, or American culture.
Author : Charles Mingus
Publisher : Canongate Books
Page : 0 pages
File Size : 51,8 Mb
Release : 2011
Category : Double-bassists
ISBN : 0857862189
Charles Mingus, bassist, composer and bandleader, was one of the towering figures of American twentieth century music. In this memoir, Mingus documents his childhood on an Army base in Arizona, his difficult teenage years in Watts, and his musical education by the likes of Louis Armstrong, Duke Ellington and Charlie Parker. Unique and lyrical voice, this memoir charts the highs and lows of a life lived to the full. Beneath the Underdog is also a portrait of life in the Forties and Fifties, of ideas of identity and race in America and the ways in which they affected the young Mingus. Above all, it is a powerful tale told through the eyes of an inspiring, anguished and extraordinary musician.
Author : Gerald Horne
Publisher : NYU Press
Page : 456 pages
File Size : 41,6 Mb
Release : 2019-06-18
Category : Music
ISBN : 9781583677872
A galvanizing history of how jazz and jazz musicians flourished despite rampant cultural exploitation The music we call “jazz” arose in late nineteenth century North America—most likely in New Orleans—based on the musical traditions of Africans, newly freed from slavery. Grounded in the music known as the “blues,” which expressed the pain, sufferings, and hopes of Black folk then pulverized by Jim Crow, this new music entered the world via the instruments that had been abandoned by departing military bands after the Civil War. Jazz and Justice examines the economic, social, and political forces that shaped this music into a phenomenal US—and Black American—contribution to global arts and culture. Horne assembles a galvanic story depicting what may have been the era’s most virulent economic—and racist—exploitation, as jazz musicians battled organized crime, the Ku Klux Klan, and other variously malignant forces dominating the nightclub scene where jazz became known. Horne pays particular attention to women artists, such as pianist Mary Lou Williams and trombonist Melba Liston, and limns the contributions of musicians with Native American roots. This is the story of a beautiful lotus, growing from the filth of the crassest form of human immiseration.
Author : NBM Publishing
Publisher : NBM
Page : 163 pages
File Size : 40,7 Mb
Release : 2023-08-22
Category : Comics & Graphic Novels
ISBN : 9781681123103
“ I play what I am. I play Mingus.” Bass player and pianist, composer and band leader, Charles Mingus is universally recognized as one of the greatest musicians in the history of jazz. An overflowing talent, who experienced the last fires of the swing age, the Be Bop revolution, the experimental seasons of Third Stream and Jazz Poetry up to Free Jazz. But he was also a tormented and angry soul, a man who, due to his mestizo origins, always had to deal with the hostility of American society. Journalist Flavio Massarutto and artist Squaz (Pasquale Todisco) retrace the stages of Mingus's journey, giving life to a non-canonical biography, which proceeds in paginated episodes like a succession of passages that form a musical suite: fragments of existence told by fishing from interviews, writings, testimonies and historical facts. The portrait of a musician who is the mirror of an era comes out, of a brilliant composer who was also one of the most clearly committed artists in denouncing racism, with real manifesto pieces such as the famous Fable of Faubus denouncing the segregationist governor of Arkansas. In the words of Massarutto and in the evocative art of Squaz, which also reinterpret some of the famous covers of Mingus records, we relive the burning parable of a restless man, always in search of perfection, in constant struggle with himself and with the world: a master capable of leaving an indelible mark on the musical and cultural panorama of the twentieth century.
Author : Eric Porter
Publisher : Univ of California Press
Page : 442 pages
File Size : 47,5 Mb
Release : 2002-01-31
Category : Music
ISBN : 0520928407
Despite the plethora of writing about jazz, little attention has been paid to what musicians themselves wrote and said about their practice. An implicit division of labor has emerged where, for the most part, black artists invent and play music while white writers provide the commentary. Eric Porter overturns this tendency in his creative intellectual history of African American musicians. He foregrounds the often-ignored ideas of these artists, analyzing them in the context of meanings circulating around jazz, as well as in relationship to broader currents in African American thought. Porter examines several crucial moments in the history of jazz: the formative years of the 1920s and 1930s; the emergence of bebop; the political and experimental projects of the 1950s, 1960s and 1970s; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis. Louis Armstrong, Anthony Braxton, Marion Brown, Duke Ellington, W.C. Handy, Yusef Lateef, Abbey Lincoln, Charles Mingus, Archie Shepp, Wadada Leo Smith, Mary Lou Williams, and Reggie Workman also feature prominently in this book. The wealth of information Porter uncovers shows how these musicians have expressed themselves in print; actively shaped the institutional structures through which the music is created, distributed, and consumed, and how they aligned themselves with other artists and activists, and how they were influenced by forces of class and gender. What Is This Thing Called Jazz? challenges interpretive orthodoxies by showing how much black jazz musicians have struggled against both the racism of the dominant culture and the prescriptive definitions of racial authenticity propagated by the music's supporters, both white and black.
Author : Mingus Tourette
Publisher : Zygote Pub.
Page : 112 pages
File Size : 55,9 Mb
Release : 2004
Category : Fiction
ISBN : 0973445807
"Alternating between startling obscenity and tender humanity, Nunt careens through a world of sex, drugs, prostitutes, buggery, fist fighting, murder, God, death, literature, jazz, rock and roll, zen, and madness."--Back cover.
Author : Krin Gabbard
Publisher : Univ of California Press
Page : 334 pages
File Size : 42,7 Mb
Release : 2016-02-08
Category : Biography & Autobiography
ISBN : 9780520260375
"This biography traces the output of jazz master Charles Mingus--his recordings, his compositions, and his writings--highlighting key moments in his life and musicians who influenced him and were influenced by him. As a young man, Mingus played with Louis Armstrong as well as with Kid Ory. Mingus also played in bands led by Duke Ellington, Charlie Parker, Lionel Hampton, Red Norvo, Art Tatum, and many others. He began leading his own bands in New York City in 1955. Eric Dolphy, Rahsaan Roland Kirk, Jimmy Knepper, Jackie McLean, Toshiko Akiyoshi, Cat Anderson, and Jaki Byard are among the many distinguished jazz artists who made music with Mingus during the 1950s, 1960s, and 1970s. In addition to leaving behind a large collection of compelling recordings by large and small units, Mingus was also a talented writer. His autobiography, Beneath the Underdog: His World Composed by Mingus, is unlike any other book by a major jazz artist. Mingus creates vivid portraits of the many people who passed through his life and tells his story with compelling prose. Mingus also wrote a good deal of poetry and prose, all of it reflecting his unique vision. In 1977 he was diagnosed with amyotrophic lateral sclerosis. After several months of steady deterioration, he died in 1979 in Mexico"--Provided by publisher.
Author : Scott Saul
Publisher : Harvard University Press
Page : 409 pages
File Size : 55,8 Mb
Release : 2009-06-30
Category : Music
ISBN : 9780674043107
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history.
Author : Elizabeth Cody Kimmel
Publisher : Penguin
Page : 159 pages
File Size : 48,7 Mb
Release : 2012-01-19
Category : Juvenile Fiction
ISBN : 9781101552346
4 girls creating 1 voice . . . will anyone be heard? Paulina, Miko, Tally, and Ivy are four extraordinarily different seventh-graders. Paulina is 100% Type A. Miko is a fashionista. Tally is a theater queen. And Ivy - well, Ivy's the new girl at school. The four girls get tossed together to create a school magazine - by girls, for girls - in a competition to get funding for a new school program. But it seems like they'll never agree on anything. And just when they begin to make headway, their biggest rival - the athletes - threatens their progress. As the four girls try to complete the first issue of their magazine, and create a corresponding blog, they start to wonder if they can get past their labels and give all the girls in school a way to speak up.
Author : Nichole Rustin-Paschal
Publisher : Wesleyan University Press
Page : 273 pages
File Size : 45,9 Mb
Release : 2017-09-12
Category : Music
ISBN : 9780819577573
Nearly four decades after his death, Charles Mingus Jr. remains one of the least understood and most recognized jazz composers and musicians of our time. Mingus's ideas about music, racial identity, and masculinity—as well as those of other individuals in his circle, like Celia Mingus, Hazel Scott, and Joni Mitchell—challenged jazz itself as a model of freedom, inclusion, creativity, and emotional expressivity. Drawing on archival records, published memoirs, and previously conducted interviews, The Kind of Man I Am uses Mingus as a lens through which to craft a gendered cultural history of postwar jazz culture. This book challenges the persisting narrative of Mingus as jazz's "Angry Man" by examining the ways the language of emotion has been used in jazz as shorthand for competing ideas about masculinity, authenticity, performance, and authority.
Author : Ingrid Monson
Publisher : Oxford University Press
Page : 416 pages
File Size : 48,9 Mb
Release : 2007-10-18
Category : Social Science
ISBN : 0198029403
An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence. Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics. Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic and cultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity. Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.