#Jackie Byard

[ozkar-krapo]

Roland KIRK

"Here comes the Whistleman"

(LP. Atlantic. ? / rec. 1967)

[jazzdailyblog]

Rick DellaRatta: Jazz Virtuoso and Musical Innovator

Introduction: Yesterday’s Jazz Daily post was about Jazz for Peace and its founder, Rick DellaRatta. Today we are going to talk about Rick DellaRatta the musician. American jazz singer, pianist, and composer Rick DellaRatta is well-known for captivating audiences throughout the world with his amazing musical talent. DellaRatta has made a name for himself in the jazz world as an innovator and…

[prgnant]

Blue Note 1963-1967 Post-Bop Masterlist

37 records recorded between 63-67, released on Blue Note, and featuring contributions from 2 or more of the following (whom I like to fondly refer to as blu-tang clan):

Jackie McLean

Joe Henderson

Sam Rivers

Freddie Hubbard

Grachan Moncur III

Bobby Hutcherson

Andrew Hill

Richard Davis

Tony Williams

Joe Chambers

This arbitrary list was compiled from the lineups of the albums which i find most representative of the blue note “post-bop” / “in and out” sound: Out to Lunch, Point of Departure, Dialogue, and Evolution. Eric Dolphy is really the spiritual father and paragon of this sound but his inclusion is not necessary to generate the same list of records. Same goes for Kenny Dorham. Herbie Hancock - Empyrean Isles and Maiden Voyage were omitted due to their popularity and bc they really stay within the modal realm. Duke Pearson - Sweet Honeybee was also omitted bc the sound doesn’t match. 3 honorary mentions are included at the end because they DO fit the vibe: Larry Young - Unity and Sam Rivers - Dimensions & Extensions which feature only one member of the list, and Eric Dolphy - Iron Man which was released on Douglas International.

Full list with dates and lineups under the cut:

Jackie McLean - Vertigo (tracks1-5) 02/11/63

Jackie McLean, Donald Byrd, Herbie Hancock, Butch Warren, Tony Williams

Herbie Hancock - My Point of View 3/19/63

Herbie Hancock, Donald Byrd, Hank Mobley, Grachan Moncur III, Grant Green, Chuck Israels, Tony Williams

Kenny Dorham - Una Mas 4/1/63

Kenny Dorham, Joe Henderson, Herbie Hancock, Butch Warren, Tony Williams

Jackie McLean - One Step Beyond 4/30/63

Jackie McLean, Grachan Moncur III, Bobby Hutcherson, Eddie Khan, Tony Williams

Joe Henderson - Our Thing 9/9/63

Joe Henderson, Kenny Dorham, Andrew Hill, Eddie Khan, Pete La Roca

Jackie McLean - Destination Out 9/20/63

Jackie McLean, Grachan Moncur III, Bobby Hutcherson, Larry Ridley, Roy Haynes

Andrew Hill - Black Fire 11/9/63

Andrew Hill, Joe Henderson, Richard Davis, Roy Haynes

Grant Green - Idle Moments 11/15/63

Grant Green, Joe Henderson, Duke Pearson, Bobby Hutcherson, Bob Cranshaw, Al Harewood

Grachan Moncur III - Evolution 11/21/63

Grachan Moncur III, Lee Morgan, Jackie McLean, Bobby Hutcherson, Bob Cranshaw, Tony Williams

Andrew Hill - Smokestack 12/13/63

Andrew Hill, Richard Davis, Eddie Khan, Roy Haynes

Andrew Hill - Judgment 1/8/64

Andrew Hill, Bobby Hutcherson, Richard Davis, Elvin Jones

Eric Dolphy - Out to Lunch 2/25/64

Eric Dolphy, Freddie Hubbard, Bobby Hutcherson, Richard Davis, Tony Williams

Andrew Hill - Point of Departure 3/21/64

Andrew Hill, Kenny Dorham, Eric Dolphy, Joe Henderson, Richard Davis, Tony Williams

Joe Henderson - In’n’Out 4/10/64

Joe Henderson, Kenny Dorham, McCoy Tyner, Richard Davis, Elvin Jones

Freddie Hubbard - Breaking Point 5/7/64

Freddie Hubbard, James Spaulding, Ronnie Matthews, Eddie Khan, Joe Chambers

Andrew Hill - Andrew!!! 6/25/64

Andrew Hill, John Gilmore, Bobby Hutcherson, Richard Davis, Joe Chambers

Grachan Moncur III - Some Other Stuff 7/6/64

Grachan Moncur III, Wayne Shorter, Herbie Hancock, Cecil McBee, Tony Williams

Tony Williams - Life Time 8/24/64

Tony Williams, Sam Rivers, Bobby Hutcherson, Herbie Hancock, Richard Davis, Gary Peacock, Ron Carter

Kenny Dorham - Trompeta Toccata 9/14/64

Kenny Dorham, Joe Henderson, Tommy Flanagan, Richard Davis, Albert Heath

Jackie McLean - Action Action Action 9/16/64

Jackie McLean, Charles Tolliver, Bobby Hutcherson, Cecil McBee, Billy Higgins

Sam Rivers - Fuchsia Swing Song 12/11/64

Sam Rivers, Jaki Byard, Ron Carter, Tony Williams

Andrew Hill - Pax 2/10/65

Andrew Hill, Freddie Hubbard, Joe Henderson, Richard Davis, Joe Chambers

Freddie Hubbard - Blue Spirits 2/19/65

Freddie Hubbard, Joe Henderson, assorted rhythm sections

Wayne Shorter - The Soothsayer 3/4/65

Wayne Shorter, Freddie Hubbard, James Spaulding, McCoy Tyner, Ron Carter, Tony Williams

Bobby Hutcherson - Dialogue 4/3/65

Bobby Hutcherson, Sam Rivers, Freddie Hubbard, Andrew Hill, Richard Davis, Joe Chambers

Sam Rivers - Contours 5/21/65

Sam Rivers, Freddie Hubbard, Herbie Hancock, Ron Carter, Joe Chambers

Bobby Hutcherson - Components 6/10/65

Bobby Hutcherson, James Spaulding, Freddie Hubbard, Herbie Hancock, Ron Carter, Joe Chambers

Tony Williams - Spring 8/12/65

Tony Williams, Wayne Shorter, Sam Rivers, Herbie Hancock, Gary Peacock

Andrew Hill - Compulsion!!!!! 10/8/65

Andrew Hill, Freddie Hubbard, John Gilmore, Cecil McBee, Richard Davis, Joe Chambers, Renaud Simmons, Nadi Qamar

Wayne Shorter - The All-Seeing Eye 10/15/65

Wayne Shorter, Freddie Hubbard, Grachan Moncur III, James Spaulding, Herbie Hancock, Ron Carter, Joe Chambers, Alan Shorter

Joe Henderson - Mode For Joe 1/27/66

Joe Henderson, Lee Morgan, Curtis Fuller, Bobbby Hutcherson, Cedar Walton, Ron Carter, Joe Chambers

Bobby Hutcherson - Happenings 2/8/66

Bobby Hutcherson, Herbie Hancock, Bob Cranshaw, Joe Chambers

Andrew Hill - Change 3/7/66

Andrew Hill, Sam Rivers, Walter Booker, J.C. Moses

Bobby Hutcherson - Stick-Up 7/14/66

Bobby Hutcherson, Joe Henderson, McCoy Tyner, Herbie Lewis, Billy Higgins

Jackie McLean - Hipnosis 2/3/67

Jackie McLean, Grachan Moncur III, LaMont Johnson, Scotty Holt, Billy Higgins

Bobby Hutcherson - Oblique 7/21/67

Bobby Hutcherson, Herbie Hancock, Albert Stinson, Joe Chambers

Jackie McLean - Bout Soul 9/8/67

Jackie McLean, Woody Shaw, Grachan Moncur III, LaMont Johnson, Scotty Holt, Rashied Ali

Eric Dolphy - Iron Man 7/1/63

Eric Dolphy, Clifford Jordan, Sonny Simmons, Prince Lasha, Woody Shaw, Bobby Hutcherson, Richard Davis, Eddie Khan, J.C. Moses

Larry Young - Unity 11/10/65

Larry Young, Woody Shaw, Joe Henderson, Elvin Jones

Sam Rivers - Dimensions & Extensions 3/17/67

Sam Rivers, Donald Byrd, Julian Priester, James Spaulding, Cecil McBee, Steve Ellington

[bamboomusiclist]

3/7 おはようございます。Carol Schmidt / Jasmine 等更新完了しました。

Paul Bryant / Groove Time fantasy3363 Bill Evans / Trio '65 V6-8613 Oscar Peterson / Another Day 2120 869-9 Hank Jones / Blue Bird Mg12053 Hal Schaefer / the Rca Victor Jazz Workshop Lpm-1199 Jaki Byard / Sunshine of My Soul prst7550 John Coltrane / Bahia prt7353 Jaki Byard / Freedom Together prst7463 Freddie McCoy / Beans & Greens Prst7542 Frank Foster / Soul Outing Prst7479 Helen O'Connell / Green Eyes lx-1093 Steve Kuhn / The October Suite as-9136 Jackie McLean / Jackie's Bag Bst84051 Lalo Schifrin / The Dissection And Reconstruction v6-8654 Catalyst / a Tear and A Smile mr5069 Eberhard Weber / Later That Evening ecm1231 VA / African and Afro American Drums ff4502 Carol Schmidt / Jasmine Charlie Haden / Closeness Sp710 Albert Ayler / Greenwich Village as9155

~bamboo music~ https://bamboo-music.net  info@bamboo-music.net   530-0028 大阪市北区万歳町3-41 シロノビル104号 06-6363-2700

[tvln]

mingus sextet at the konserthuset stockholm 64

[jazzplusplus]

1970 - Charles Mingus Sextet & Anita O’day Trio - Théâtre Français - Bordeaux

Charles Mingus (b), Jaki Byard (p), Danny Richmond (dr), Carlos Garnett (ts), Charles McPherson (as), Edward Preston (tp)

Anita O'Day (voc), Georges Arvanitas (p), Jacky Samson (b), Charles Saudrais (dr)

[blackkudos]

Charles Mingus

Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an American jazz double bassist, pianist, composer and bandleader. A major proponent of collective improvisation, he is considered to be one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz legends such as Louis Armstrong, Duke Ellington, Charlie Parker, Dizzy Gillespie, Dannie Richmond, and Herbie Hancock.

Mingus' compositions continue to be played by contemporary musicians ranging from 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. 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".

Biography

Early life and career

Charles Mingus was born in Nogales, Arizona. His father, Charles Mingus Sr., was a sergeant in the U.S. Army. Mingus was largely raised in the Watts area of Los Angeles. His maternal grandfather was a Chinese British subject from Hong Kong, and his maternal grandmother was an African-American from the southern United States. Mingus was the third great-grandson of the family's founding patriarch who was, by most accounts, a German immigrant. His ancestors included German American, African American, and Native American.

In Mingus's autobiography Beneath the Underdog his mother was described as "the daughter of an English/Chinese man and a South-American woman", and his father was the son "of a black farm worker and a Swedish woman". Charles Mingus Sr. claims to have been raised by his mother and her husband as a white person until he was fourteen, when his mother revealed to her family that the child's true father was a black slave, after which he had to run away from his family and live on his own. The autobiography doesn't confirm whether Charles Mingus Sr. or Mingus himself believed this story was true, or whether it was merely an embellished version of the Mingus family's lineage.

His mother allowed only church-related music in their home, but Mingus developed an early love for other music, especially Duke Ellington. He studied trombone, and later cello, although he was unable to follow the cello professionally because, at the time, it was nearly impossible for a black musician to make a career of classical music, and the cello was not yet accepted as a jazz instrument. Despite this, Mingus was still attached to the cello; as he studied bass with Red Callender in the late 1930s, Callender even commented that the cello was still Mingus's main instrument. In Beneath the Underdog, Mingus states that he did not actually start learning bass until Buddy Collette accepted him into his swing band under the stipulation that he be the band's bass player.

Due to a poor education, the young Mingus could not read musical notation quickly enough to join the local youth orchestra. This had a serious impact on his early musical experiences, leaving him feeling ostracized from the classical music world. These early experiences, in addition to his lifelong confrontations with racism, were reflected in his music, which often focused on themes of racism, discrimination and (in)justice.

Much of the cello technique he learned was applicable to double bass when he took up the instrument in high school. He studied for five years with Herman Reinshagen, principal bassist of the New York Philharmonic, and compositional techniques with Lloyd Reese. Throughout much of his career, he played a bass made in 1927 by the German maker Ernst Heinrich Roth.

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 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, 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 led by Howard McGhee.

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's race 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 a back-stage fight between Mingus and Juan Tizol.

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").

Mingus was married four times. His wives were Jeanne Gross, Lucille (Celia) Germanis, Judy Starkey, and Susan Graham Ungaro.

Based in New York

In 1961, Mingus spent time staying at the house of his mother's sister (Louise) and her husband, Fess Williams in Jamaica, Queens. Subsequently, Mingus invited Williams to play at the 1962 Town Hall Concert.

In 1952 Mingus co-founded Debut Records with Max Roach so he could conduct his recording career as he saw fit. The name originated from his 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 Gillespie and Parker 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, however, are often regarded as among the finest live jazz recordings.

One story has it that Mingus was involved in a notorious incident while playing a 1955 club date billed as a "reunion" with Parker, Powell, and Roach. Powell, who suffered from alcoholism and mental illness (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's 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." This was Parker's last public performance; about a week later he died after years of substance 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

and other recordings

The decade that followed is generally regarded as Mingus's most productive and fertile period. Over a ten-year period, he made 30 records for a number of labels (Atlantic, Candid, Columbia, Impulse and others), a pace perhaps unmatched by any other musicians 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 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), the title track of which features narration by humorist Jean Shepherd, was the first to feature drummer Dannie Richmond, who remained 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".

Mingus Ah Um

and other works

In 1959 Mingus and his jazz workshop musicians recorded one of his best-known albums, Mingus Ah Um. Even in a year of standout masterpieces, including Dave Brubeck's Time Out, Miles Davis's Kind of Blue, John Coltrane's Giant Steps, and Ornette Coleman's prophetic The Shape of Jazz to Come, this was a major achievement, featuring such classic Mingus compositions as "Goodbye Pork Pie Hat" (an elegy to Lester Young) and the vocal-less version of "Fables of Faubus" (a protest against segregationist Arkansas governor Orval Faubus that features double-time sections). Also during 1959, Mingus recorded the album Blues & Roots, which was released the following year. As Mingus explained in his liner notes: "I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing."

Mingus witnessed Ornette Coleman's legendary—and controversial—1960 appearances at New York City's Five Spot jazz club. 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." That same year, however, Mingus formed a quartet with Richmond, trumpeter Ted Curson and multi-instrumentalist 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. The quartet recorded on both Charles Mingus Presents Charles Mingus and Mingus. The former also features the version of "Fables of Faubus" with lyrics, aptly titled "Original Faubus Fables".

Only one misstep occurred in this era: The Town Hall Concert in October 1962, a "live workshop"/recording session. With an ambitious program, the event was plagued with troubles from its inception. Mingus's vision, now known as Epitaph, was finally realized by conductor Gunther Schuller in a concert in 1989, a decade after Mingus died.

The Black Saint and the Sinner Lady

and other Impulse! albums

In 1963, Mingus released The Black Saint and the Sinner Lady, described as "one of the greatest achievements in orchestration by any composer in jazz history." The album was also unique in that Mingus asked his psychotherapist, Dr. Edmund Pollock, to provide notes for the record.

Mingus also released Mingus Plays Piano, an unaccompanied album featuring some fully improvised pieces, in 1963.

In addition, 1963 saw the release of Mingus Mingus Mingus Mingus Mingus, an album praised by critic Nat Hentoff.

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 and left during a European tour. Dolphy stayed in Europe after the tour ended, and died suddenly in Berlin on June 28, 1964. 1964 was also the year that Mingus met his future wife, Sue Graham Ungaro. The couple were married in 1966 by Allen Ginsberg. Facing financial hardship, Mingus was evicted from his New York home in 1966.

Changes

Mingus's pace slowed somewhat in the late 1960s and early 1970s. In 1974, after his 1970 sextet with Charles McPherson, Eddie Preston and Bobby Jones disbanded, 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.

Later career and death

By the mid-1970s, Mingus was suffering from amyotrophic lateral sclerosis (ALS). His once formidable bass technique declined until he could no longer play the instrument. He continued composing, however, and supervised a number of recordings before his death. At the time of his death, he was working with Joni Mitchell on an album eventually titled Mingus, which included lyrics added by Mitchell to his compositions, including "Goodbye Pork Pie Hat". 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.

Musical style

His compositions retained the hot and soulful feel of hard bop, drawing heavily from black gospel music and blues, while sometimes containing elements of Third Stream, free jazz, and classical music. He once cited Duke Ellington and church as his main influences.

Mingus espoused 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, he looked not only at the skills of the available musicians, but also their personalities. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists, whom he utilized to assemble unconventional instrumental configurations. As a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instrument's most proficient players.

Because of his brilliant writing for midsize ensembles, and his catering to and emphasizing the strengths of the musicians in his groups, Mingus is often considered the heir of Duke Ellington, for whom he expressed great admiration and collaborated on the record Money Jungle. Indeed, Dizzy Gillespie had once claimed Mingus reminded him "of a young Duke", citing their shared "organizational genius."

Personality and temper

Nearly as well known as his ambitious music was Mingus's often fearsome temperament, which earned him the nickname "The Angry Man of Jazz". His refusal to compromise his musical integrity led to many onstage eruptions, exhortations to musicians, and dismissals. Although respected for his musical talents, Mingus was sometimes feared for his occasionally 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. 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." Mingus reportedly destroyed a $20,000 bass in response to audience heckling at the Five Spot in New York City.

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."

On October 12, 1962, Mingus punched Jimmy Knepper in the mouth while the two men were working together at Mingus' apartment on a score for his upcoming concert at The Town Hall in New York, and Knepper refused to take on more work. Mingus' blow broke off a crowned tooth and its underlying stub. 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 did again work with Mingus in 1977 and played extensively with the Mingus Dynasty, formed after Mingus' death in 1979.

In addition to bouts of ill temper, Mingus was prone to clinical depression and tended to have brief periods of extreme creative activity intermixed with fairly long stretches of greatly decreased output, such as the five-year period following the death of Eric Dolphy.

In 1966, Mingus was evicted from his apartment at 5 Great Jones Street in New York City for nonpayment of rent, captured in the 1968 documentary film Mingus: Charlie Mingus 1968, directed by Thomas Reichman. The film also features Mingus performing in clubs and in the apartment, firing a .410 shotgun indoors, composing at the piano, playing with and taking care of his young daughter Caroline, and discussing love, art, politics, and the music school he had hoped to create.

Legacy

The Mingus Big Band

Charles Mingus' 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. The Mingus Big Band, the Mingus Orchestra, and the Mingus Dynasty band are managed by Jazz Workshop, Inc. and run by Mingus' widow Sue Graham Mingus.

Elvis Costello has written lyrics for a few Mingus pieces. He had once sung lyrics for one piece, "Invisible Lady", backed by the Mingus Big Band on the album, Tonight at Noon: Three of Four Shades of Love.

Epitaph

Epitaph is considered 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, by musicologist Andrew Homzy, during the cataloging process after Mingus' death. 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' widow, Sue Graham Mingus, at Alice Tully Hall on June 3, 1989, 10 years after Mingus' death. It was performed again at several concerts in 2007. The performance at Walt Disney Concert Hall is available on NPR. Hal Leonard published the complete score in 2008.

Autobiography

Mingus wrote the sprawling, exaggerated, quasi-autobiography, Beneath the Underdog: His World as Composed by Mingus, throughout the 1960s, and it was published in 1971. Its "stream of consciousness" style covered several aspects of his 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 more than 31 affairs in 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. It includes 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.

Scholarly influence

The work of Charles Mingus has also received attention in academia. According to Ashon Crawley, the musicianship of Charles Mingus provides a salient example of the power of music to unsettle the dualistic, categorical distinction of sacred from profane through otherwise epistemologies. Crawley offers a reading of Mingus that examines the deep, imbrication uniting Holiness-Pentecostal aesthetic practices and jazz. Mingus recognized the importance and impact of the midweek gathering of black folks at the Holiness-Pentecostal Church at 79th and Watts in Los Angeles that he'd attend with his stepmother or his friend Britt Woodman. Crawley goes on to argue that these visits were the impetus for the song "Wednesday Prayer Meeting." Emphasis is placed on the ethical demand of the prayer meeting felt and experienced that, according to Crawley, Mingus attempts to capture. In many ways, "Wednesday Night Prayer Meeting" was Mingus's memorial, homage, to black sociality. By exploring Mingus' homage to black Pentecostal aesthetics, Crawley expounds on how Mingus figured out that those Holiness-Pentecostal gatherings were the constant repetition of the ongoing, deep, intense mode of study, a kind of study wherein the aesthetic forms created could not be severed from the intellectual practice because they were one and also, but not, the same." Gunther Schuller has suggested that Mingus should be ranked among the most important American composers, jazz or otherwise. In 1988, a grant from the National Endowment for the Arts made possible the cataloging of Mingus compositions, which were then donated to the Music Division of the New York Public Library 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".

Cover versions

Considering the number of compositions that Charles Mingus wrote, his works have not been recorded as often as comparable jazz composers. The only Mingus tribute albums recorded during his lifetime were baritone saxophonist Pepper Adams's album, Pepper Adams Plays the Compositions of Charlie Mingus, in 1963, and Joni Mitchell's album Mingus, in 1979. 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 it.

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 CD "Witness." New York Ska Jazz Ensemble has done a cover of Mingus's "Haitian Fight Song", as have the British folk rock group 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's music, titled Play Mingus.

Gunther Schuller's edition of Mingus's "Epitaph" which premiered at Lincoln Center in 1989 was subsequently released on Columbia/Sony Records.

One of the most elaborate tributes to Mingus came on September 29, 1969, at a festival honoring him. Duke Ellington performed The Clown, with Duke reading Jean Shepherd's narration. It was long believed that no recording of this performance existed; however, one was discovered and premiered on July 11, 2013, by Dry River Jazz host Trevor Hodgkins for NPR member station KRWG-FM with re-airings on July 13, 2013, and July 26, 2014. Mingus's elegy for Duke, "Duke Ellington's Sound Of Love", was recorded by Kevin Mahogany on Double Rainbow (1993) and Anita Wardell on Why Do You Cry? (1995).

Material loss

On June 25, 2019, The New York Times Magazine listed Charles Mingus among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

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's 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.

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".

1995: The United States Postal Service issued a stamp in his honor.

1997: Posthumously awarded the Grammy Lifetime Achievement Award.

1999: Album Mingus Dynasty (1959) inducted in the Grammy Hall of Fame.

2005: Inducted in the Jazz at Lincoln Center, Nesuhi Ertegun Jazz Hall of Fame.

[topoet]

Don Ellis Haiku

I had the lp of horn player Don Ellis’s Haiku- purchase used at Cheapies because of the title. On the east coast I owned his live double lp Tears of Joy – which, at that time, was too jazzy for me – so I was tentative about anything else by him but the concept of jazz Haiku appealed to me. Each piece is based on, gasp, a Haiku (which were included on the liner). Very nice. Tears of Joy was left…

[popsike-com]

archived! $ 371 | Eric Dolphy Quintet - Outward Bound (1960 New Jazz NJLP 8236 - - Original 1960 US Mono Issue LP - *** EXTREMELY RARE *** Description: New Jazz - NJLP 8236 - Original Purple / Silver Label (1st Edition) - Double-Sided Deep Groove - RVG (Machine Stamped) - Original 1960 US Mono Issue LP - Original Heavy Card "Frame" Construction Jacket (BERGENFIELD N. J. Address) - Original Thin & Fragile Paper Innersleeve - Outward Bound - Eric Dolphy Quintet - Eric Dolphy (Alto Saxophone, Flute & Bass Clarinet) - Freddie Hubbard (Trumpet) - Jackie Byard (Piano) - George Tucker (Bass) - Roy Haynes (Drums) - Recorded in Englewood Cliffs, NJ; April 1, 1960 - *** EXTREMELY RARE *** ORIGINAL 1960 US NEW JAZZ MONO LP EDITION (MONO CARTRIDGE RECOMMENDED) - (TESTED: Pierre Clément H4L6 Turntable & Tonearm / Pierre Clément E25B Mono Cartridge) Edition Details: * Matrix Side 1: NJLP-8236.A - RVG (Machine Stamped) in dead wax * Matrix Side 2: NJLP-8236.B - RVG (Machine Stamped) in dead wax * Jacket: Original Heavy Card 'Frame' Construction Jacket (BERGENFIELD N. J. Address) * Innersleeve: Original Thin & Fragile Paper Innersleeve * Label: Original Purple / Silver Label - Double-Sided Deep Groove (1st Edition) Condition: Record is in EX Condition - SUPERB RICH MONO SOUND QUALITY & PLAYBACK - FANTASTIC & DYNAMIC NEW JAZZ MONO SOUND QUALITY !!! Jacket is in EX Condition - See images) #vinyl #vinylcommunity #vinylsale #rarevinyl #vinylcollector #vinylcollection #popsike #jazz #jazzvinyl #hardbop #postbop #ericdolphy #1960 — view on Instagram https://ift.tt/NbsPkF4

[jmciii57]

My selection for today is one of Blue Note Records Connoisseur series CD’s remastered in 24 bit by Ron McMaster - Sam Rivers “Fuchsia Swing Song” featuring pianist Jackie Byard, bassist Ron Carter and drummer Tony Williams (backing Rivers tenor sax). This series contained a number of lesser known Blue Note titles that were usually overlooked when anyone reissued the Blue Note catalog. And McMaster was equally overlooked. When Blue Note brought out the RVG series to thunderous applause, many dumped their original issue CD’s for the RVG’s only to discover that the RVG’s were a bit bright and thin sounding in comparison to both the original issued CD’s as well as the original vinyl. Suddenly a new appreciation of McMaster’s work formed. No, Ron’s work wasn’t perfect (whose is?), but it was a lot more faithful to the original tapes than the RVG’s turned out to be. This title is a great showcase for McMaster’s talents. The piano has heft, like a real piano. Rivers sax is all reed and brass. The bass is deep and tight (though not overpowering, as was Carter’s style). And Williams drums have all the power, snap and shimmer one associates with the instrument. On this album Rivers walks a fine line between freedom and accessibility. His rhythm section meshes perfectly. The six tunes from the original album are here along with four alternate takes. If you have a copy, I’ll bet you haven’t pulled it in a while. Now would be a great time to reacquaint yourself with its virtues. If you don’t own a copy, find one. You won’t be disappointed. Very highly recommended to all. #cd #stereo #digital #music #jazz #bluenote #album #recording #highend #audio #audiophile

[ozkar-krapo]

Roland KIRK

"Here comes the Whistleman"

(LP. Atlantic. ? / rec. 1967) [US]

[aitan]

Charles Mingus Septet, Dont let it happen here (Rec. live in N.Y. 19. Sept. 1965) Charles Mingus, b. recitation, Charles McPherson, as. Lonnie Hillyer, tp. JimmyOwens or Hobert Dobsons, tp. Julius Watkins, frh. Howard Johnson, tuba, Jacky Byard, p. Danny Richmond, dr. ________________ "One day they came and they took the communist people, and I said nothing because I was not a communist. Then one day they came and they took the people of the Jewish faith, and I said nothing because I was not a Jew. Then one day they came and took the unionists, and I said nothing because I was not a unionist. They burned the Catholic churches one day, and I said nothing because I was a Protestant. Then one day they came and they took me, and I could say nothing because I was guilty as they were, for not speaking out and saying that all people have a right to freedom. Yes, I was as guiltily of genocide as those who killed the 18 million people along with me, and I say the only way we can avoid this is to look and speak out now... and don't let it happen here." ________________ Il testo è un rifacimento di Mingus del celebre monito antinazista contro l'indifferenza del pastore luterano Martin Niemöller conosciuto come "First they came..." e spesso erroneamente attribuito a Brecht.

[savetopnow]

2018-03-22 03 SPORTS now

SPORTS

Barstool Sports

Girl Scouts Change Their Rules And Make It Okay To Sell Girl Scout Cookies In Front Of Weed Dispensaries

College Baseball Announcer Becomes Befuddled While Reading A Pitcher’s Bio Filled With Always Sunny Quotes

Rory McIlroy Announces Tiger Woods Is The Undisputed Greatest Player Of All Time

Is It Acceptable For Some Strange Lady To Take A Selfie With My Dogs Without Permission?

Michael Rapaport gives an inspirational Slam Dunk contest speech and his NBA mid-season awards

Deadspin

Here's The New Part Of The Catch Rule We'll All Be Confused About

Can These Two Guys Get Their Hands On “Big Dick Nick”?

Icelandic Announcer Loses His Goddamn Mind Over Full-Court Buzzer-Beater

"Have Mercy!" Graceland Wins NAIA Championship At The Buzzer

Deion Sanders Tries The "You Never Played The Game" Bit On An All-Pro Safety

ESPN

LeBron calls NBA playoff play-in idea 'wack'

Power Rankings: How Cup teams stack up

Titans DB Byard feuds with Deion Sanders

BK Racing's income statements shows costs to run underfunded race team

NHL experts predict: Maurice Richard Trophy winner, how to fix goalie interference

FiveThirtyEight Sports

James Harden Is Still Drawing 3-Point Fouls Better Than Entire NBA Teams

Everyone’s Talking About Tiger, But Phil Mickelson Is Playing The Best Golf Of His Career

It’s Never Too Early For Gregg Popovich To Call A Timeout

Beside The Points For Monday, March 19, 2018

This Year’s Sweet 16 Is Downright Odd

Reddit Sports

On this day in 1953, the Boston Celtics and Syracuse Nationals played an NBA game in which 12 players fouled out and 2 were ejected. There were 106 total fouls in the game, which went to quadruple overtime.

Helicopter arrives at the Gaddafi Stadium (Pakistan) to help dry the wet outfield

How do you get into Basketball

Tour de France - 1968. A spectator uses a hose to cool off French cyclist Jean-Pierre Genet. It was the last year that national teams competed, and not the trade teams that exist today.

Girls will be banned from playing rugby in state-funded schools in Tonga, after a statement was issued by Education Minister Penisimani Fifita. In his statement, Mr Fifita said he was issuing the ban because it was against Tongan traditions and culture for girls to play rugby.

SB Nation

Austin Seferian-Jenkins brings more fantasy firepower to Jaguars’ passing game

Seahawks sign Ed Dickson to fill fantasy tight end void

2018 NFL Draft to include college-themed broadcast

Gonzaga is college basketball’s powerhouse underdog

The Brewers ended their strange offseason by not signing Alex Cobb

Sports Illustrated

Is Draymond Green Really a Top-10 Player?

How Charley Pride Went From Negro League Ballplayer to Country Music's Jackie Robinson

Liverpool & Arsenal on Red Alert as Paris Saint-Germain Midfielder Reportedly Uncertain of Future

Newcastle Target Admits He Was 'Annoyed' About Failed Move to St. James' Park in January

Yaya Toure Fails to Turn Up to Ivory Coast Training Following Return to International Team

The Ringer

Ringer Pop Quiz: Sweet 16 Edition

Thai Food With Pok Pok Founder Andy Ricker

Coach Tyler: How Chris Paul and the Rockets DISMANTLED the Toronto Raptors

‘Love, Simon’ and the Surprise of Parental Support for Queer Children

Is Matt Harvey Washed?

Yahoo! Sports

Jose Mourinho's feud with Paul Pogba takes another bizarre twist

Yankees’ Opening Day lineup beginning to take shape

Chris Paul’s game-winning miss helps Rockets end Blazers’ 13-game streak

Giants news, 3/21: Phil Simms offers Giants advice with No. 2 pick

Kyle Korver to take leave of absence following brother's death

[eugesounds]

A Simple Twist of Fate

noun - def: the development of events beyond a person's control, regarded as determined by a supernatural power.

This is a story of fate.

The picture above is how I most remember Jackie McLean, it was probably taken during the time I was attending and/or teaching at the University of Hartford’s Hartt School of Music and its Community Division. Jackie was a legend both on and off of campus. He was a protege of Charlie Parker and a bad-ass player who was universally revered as a jazz giant and one of be-bops main sax men. “Jackie Mac” was hip, focused, scholarly, and very sharp. He was also incredibly kind and very engaging. I only had a handful of personal moments with him over the course of a few years, but every single time I did, I came away feeling better about myself. Jackie just had that kind of persona, and I imagine the twinkle in his eye came across to just about everyone who was fortunate to spend any time with him. 

I had a few classes with Jackie and some of the “guest educators” that he brought in to help kick-start the then fledgling “jazz studies” program at Hartt (including Jaki Byard, Walter Bishop Jr., Sonny Rollins and Lee Konitz to name just a few). During one class on improvisation as I was woefully attempting to solo over a fairly basic blues progression, Jackie suddenly waved his arms emphatically to stop us all. I instantly felt a sinking feeling and thought for certain that I was about to hear confirmation of all the struggles that were evident by my playing. Instead, Jackie smiled broadly and said “Man, he’s got a great sound!” That comment did more for my confidence as a player than almost any other, before...or since.

I was lucky enough to play in the Hartt Jazz Ensemble, but as a Music Education major I spent more time in my “required” classes than those folks who majored on their instrument or in “jazz studies” specifically. But by being one of only 12 or maybe 15 total saxophonists at the school, Jackie knew who I was and he always had a big smile, a knowing wave, or kind words to say when we crossed paths in the halls or around campus.

One late afternoon I was practicing my classical etudes in a “cell”; (a Spartan cinder block room furnished only with a beat-up, cigarette-burned piano and a single, usually wobbly, music stand) when I was pleasantly surprised to hear the wonderful sound of a jazz combo coming from the small recital hall nearby. I put my horn down and went to investigate. When the music paused, I cracked open the door to peek inside. I saw a handful of familiar faces and when they noticed me there, Jackie turned around, gave me that big knowing smile and waved for me to join in. I sheepishly waved back, smiled, shook my head “no”, and closed the door. Later I found out that Jackie was planning on taking a group of students on a tour of Japan...and this was an “audition” of sorts. 

I’ve thought about that moment many, many times throughout my life. I imagine how very different things might have been if I had grabbed my horn and gone into that hall. Of course, there is a great chance that I would not have made the cut. But had I been chosen, I am positive it would have been a life altering experience. I don’t regret my decision at all, but I have no problem acknowledging its significance. I’m certain that the “super-natural powers” of fate were indeed in play. 

I’m sure that my true “calling” is to be the best teacher, guru, friend, co-learner, and coach that I can be. I’m also happy that I’m part of a terrific band and proud to get called for a variety of cool gigs around Dallas each year. The 3 sisters of fate; Clotho, Lachesis, and Atropos have helped guide the crazy odyssey that is my very blessed life and I’m confident they’ve done a bang up job so far. Sometimes the smallest choices we make (or choose NOT to make) are the ones that wind up having the biggest impact.

Thank you Jackie for all of the smiles and kind words. You made a difference!

[bamboomusiclist]

11/24  Francois Tusques / Le Musichien  など更新しました。

おはようございます。更新完了しました。https://bamboo-music.net

j23553 Cannonball Adderley / in Chicago j23554 Bob Brookmeyer / Traditionalism Revisited j23555 Christopher Hollyday / Reverence j23556 Percy Humphrey / featuring Sweet Emma j23557 Dizzy Gillespie / the Cool World j23558 Vaughn Monroe /  There I Sing j23559 Jaki Byard / Live vol.1 j23560 Jaki Byard / Live vol.2 j23561 Jackie and Roy Kral Charlie Ventura / Jazz Classic by jf20551 Grover Washington JR / Inside Moves br9125 Ray Barretto / Together jf20550 Ellen McIlwaine / We The People jf20549 Ellen McIlwaine / Honky Tonk Angel s21119 the Counts / What's Up Front That Counts esj1285 Francois Tusques / Le Musichien

[harrisnovick]

Art Blakey: "Crisis" (Live 1965, Europe) -- unique Jazz Messengers linup w/ Freddie Hubbard, Nathan Davis, Jacki Byard, and Reggie Workman. (Don't know that I've ever seen Davis or Byard on any JM studio recordings.) 

Rooster_Ties posted this to r/Jazz at 2017-10-19 15:54:46 UTC