Charles Mingus: influences, peers and legacy

Every connection with its receipt

Charles Mingus built his music out of Duke Ellington's orchestral colors, the holy-roller shouting of the Watts church he grew up in, and the harmonic shock of bebop — then forced it all through collective improvisation and his own volcanic temper. This mix traces the Los Angeles roots, the classical and literary reaches, the players who could withstand him, and the composers who inherited his method.

The Kynda mix for Charles Mingus

• Key Influence · The Blanton-Webster Band by Duke Ellington (1940). Ellington was Mingus's lifelong model: the composer who wrote for specific personalities rather than generic sections. Jimmie Blanton's bass work on these 1940-42 Victor sides redefined what Mingus's instrument could do melodically. Mingus briefly played in Ellington's orchestra in 1953 — and was famously fired after a backstage altercation with Juan Tizol, an episode he recounted with relish in his autobiography.
• Influencia Obscura · The Red Norvo Trio by Red Norvo (1950). Before the firebrand bandleader there was a working sideman in a chamber-jazz vibraphone trio with Tal Farlow — no drums, requiring Mingus to carry pulse, counterline and harmony at once. He left in 1951 after a television booking replaced him with a white bassist, a racist humiliation that sharpened his resolve to lead his own groups and control his own recordings. An under-cited foundation of his technique.
• Local Roots · Central Avenue Breakdown by Lionel Hampton (1940). Mingus came up on Los Angeles's Central Avenue, the West Coast's Black music corridor. Hampton's band recorded Mingus's early composition "Mingus Fingers" in 1947, the young bassist's first significant exposure as a writer for a big band. The Watts-to-Central-Avenue circuit — dance halls, after-hours clubs, church across town — gave him the big-band craft he later shrank into volatile small ensembles.
• Beyond the Medium · Holy Roller church services of Watts by Various (1930). Mingus often described the shouting, hand-clapping Holiness church his stepmother took him to in Watts as a formative sound: congregation and preacher answering each other, moans sliding into pitchless cries. That call-and-response became the organizing device of "Wednesday Night Prayer Meeting" and "Better Git It in Your Soul," where he had musicians shout encouragement on the take. Sacred ecstasy as compositional form.
• Peer · Brilliant Corners by Thelonious Monk (1957). Mingus plays bass on this date, wrestling with Monk's hardest writing — the title track had to be spliced from multiple incomplete takes. The two shared a stubborn idiosyncrasy: composers who refused to smooth their music for players' comfort. Mingus also appeared alongside Monk at Massey Hall in 1953 and spoke of him as one of the few genuine originals, a rare compliment from a famously withholding critic of colleagues.
• From the Canon · Beneath the Underdog by Charles Mingus (1971). Mingus's book is not a conventional memoir but a fevered, unreliable, third-person-and-first-person account of race, sex, psychiatric collapse and the music business, written over years and heavily cut by editor Nel King. It shows how literary his ambitions were: titles like "Fables of Faubus" and "Original Faubus Fables" function as narrative texts. The prose explains the music's structure better than any analysis.
• Key Collaborator · Out to Lunch! by Eric Dolphy (1964). Dolphy's own masterpiece, cut months before his death, shows what Mingus's most trusted soloist did with total freedom: jagged intervals, bass clarinet in conversation with Bobby Hutcherson's vibes, structures that breathe rather than march. He had been Mingus's key voice from 1960's Candid sessions onward, the one player whose extremity Mingus never tried to rein in and whose loss he never fully absorbed.
• Legacy · Epitaph by Gunther Schuller (1989). Mingus's two-hour, 500-page magnum opus was left unperformable at his death; the musicologist and composer Gunther Schuller spent years reconstructing the score from manuscript and conducted its 1989 premiere at Lincoln Center with a thirty-piece orchestra. It is the literal transmission of Mingus's legacy — a work that only exists in the world because a successor treated jazz manuscript with the seriousness given to concert repertoire.

What influenced Charles Mingus

• Duke Ellington (1899). Mingus wrote an elegy dedicated to Ellington. (also via The Black Saint and the Sinner Lady, Duke Ellington's Sound of Love, The Clown) “He once cited Duke Ellington and church as his main influences.” (Wikipedia)
• Charlie Parker. Parker’s compositions and improvisations influenced Mingus. (also via The Charlie Parker Story) “Mingus played gigs with Charlie Parker , whose compositions and improvisations greatly inspired and influenced him.” (Wikipedia)
• Ornette Coleman (1930). The article connects the instrumentation and ambitions of Mingus’s quartet to Coleman’s. (also via Free Jazz: A Collective Improvisation) “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.” (Wikipedia)
• The Charlie Parker Story by Charlie Parker (1945). The Charlie Parker Story (Charlie Parker) — titan for Charles Mingus “A major proponent of collective improvisation, he is considered one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz greats, such as Duke Ellington, Charlie …” (en.wikipedia.org)
• Lloyd Reese. Mingus studied compositional techniques with Reese. “He studied for five years with Herman Reinshagen, principal bassist of the New York Philharmonic , and compositional techniques with Lloyd Reese.” (Wikipedia)
• Red Callender. Mingus studied bass with Callender. “he studied bass with Red Callender in the late 1930s, Callender even commented that the cello was still Mingus's main instrument.” (Wikipedia)
• Karlheinz Stockhausen. Mingus is listed among jazz musicians who cited Stockhausen as an influence. “Jazz musicians such as Miles Davis , [ 210 ] Charles Mingus , [ 211 ] Herbie Hancock , [ 212 ] Yusef Lateef , [ 213 ] [ 214 ] and Anthony Braxton [ 215 ] cite Stockhausen as an influence.” (Wikipedia)
• Herman Reinshagen. Mingus studied with Reinshagen for five years. “He studied for five years with Herman Reinshagen, principal bassist of the New York Philharmonic , and compositional techniques with Lloyd Reese.” (Wikipedia)
• The Blanton-Webster Band by Duke Ellington (1940). The Blanton-Webster Band (Duke Ellington) — titan for Charles Mingus “A major proponent of collective improvisation, he is considered one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz greats, such as Duke Ellington, Charlie …” (en.wikipedia.org)
• Cello Suites by Johann Sebastian Bach (1720). Cello Suites (Johann Sebastian Bach) — ghost for Charles Mingus (musicbrainz.org)
• Rhapsody in Blue by George Gershwin. Rhapsody in Blue (George Gershwin) — titan for Charles Mingus (musicbrainz.org)
• The Red Norvo Trio by Red Norvo (1950). The Red Norvo Trio (Red Norvo) — ghost for Charles Mingus “In 1950–51, a popular trio of Mingus, Red Norvo and Tal Farlow, received considerable acclaim, but Mingus's race caused problems with some club owners and he left the group.” (en.wikipedia.org)
• Holy Roller church services of Watts by Various (1930). Holy Roller church services of Watts (Various) — culture for Charles Mingus
• The Rite of Spring by Igor Stravinsky. The Rite of Spring (Igor Stravinsky) — culture for Charles Mingus

Peers and kindred spirits

• Joni Mitchell (1943). Mingus asked Mitchell to collaborate on his final recordings, resulting in the Mingus album. (also via Mingus Ah Um, Goodbye Pork Pie Hat) “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 ".” (Wikipedia)
• Max Roach. Roach collaborated with Mingus on Money Jungle. (also via Max Roach + 4) “In 1960, Mingus organized with Max Roach a concert in protest against the Newport Jazz Festival and George Wein's low payment of musicians” (Wikipedia)
• Eric Dolphy. Mingus formed a quartet with Dolphy. (also via Original Jazz Classics: Dolphy at the Five Spot, Out to Lunch!) “That same year, however, Mingus formed a quartet with Richmond, trumpeter Ted Curson , and multi-instrumentalist Eric Dolphy .” (Wikipedia)
• Louis Armstrong. Mingus toured with Armstrong. “Charles topped the Saturday evening bill along with Max Roach, Louis Armstrong and Carol Sloane.” (Charles Mingus)
• Debut Records. Mingus co-founded Debut Records with Roach. “In 1952, Mingus co-founded Debut Records with Max Roach so that he could conduct his recording career as he saw fit.” (Wikipedia)
• Pentangle. The article says Jansch and Renbourn covered the song with Pentangle. (via Goodbye Pork Pie Hat, Haitian Fight Song) “The song has been covered by both jazz and non-jazz artists, such as Jeff Beck , Andy Summers , Eugene Chadbourne , and Bert Jansch and John Renbourn with and without Pentangle .” (Wikipedia)
• Lionel Hampton. Mingus played in Hampton’s band, which recorded his compositions. (also via Central Avenue Breakdown) “He then played with Lionel Hampton 's band in the late 1940s; Hampton performed and recorded several Mingus pieces.” (Wikipedia)
• Dannie Richmond. Richmond became Mingus’s long-standing preferred drummer. (also via Dannie Richmond Quintet: Ode to Mingus) “the first to feature drummer Dannie Richmond , who remained his preferred drummer until Mingus's death in 1979.” (Wikipedia)
• Red Norvo. Mingus and Norvo played together in an acclaimed trio. (also via The Red Norvo Trio) “In 1950–51, a popular trio of Mingus, Red Norvo and Tal Farlow , received considerable acclaim, but Mingus's race caused problems with some club owners and he left the group.” (Wikipedia)
• Elvis Costello. Costello recorded Mingus’s composition Hora Decubitus. (via Hora Decubitus, Elvis Costello and the Brodsky Quartet: The Juliet Letters) “Elvis Costello has recorded "Hora Decubitus" (from Mingus Mingus Mingus Mingus Mingus ) on My Flame Burns Blue (2006).” (Wikipedia)
• Tal Farlow. Mingus and Farlow played together in an acclaimed trio. “In 1950–51, a popular trio of Mingus, Red Norvo and Tal Farlow , received considerable acclaim, but Mingus's race caused problems with some club owners and he left the group.” (Wikipedia)
• Quintorigo. Quintorigo recorded an album of Mingus’s music. “The Italian band Quintorigo recorded an entire album devoted to Mingus's music, titled Play Mingus .” (Wikipedia)
• Buddy Collette (1921). Mingus played bass in Collette’s band. “Buddy Collette accepted him into his swing band under the stipulation that he be the band's bass player.” (Wikipedia)
• Weary Blues. Hughes collaborated with Mingus and Feather on the Weary Blues album. “Hughes was featured reciting his poetry on the album Weary Blues (MGM, 1959), with music by Charles Mingus and Leonard Feather” (Wikipedia)
• University at Buffalo. Mingus taught at the University at Buffalo for a semester. “In 1971, Mingus taught for a semester at the University at Buffalo, the State University of New York , as the Slee Professor of Music.” (Wikipedia)
• Max Roach + 4 by Max Roach (1957). Max Roach + 4 (Max Roach) — geography for Charles Mingus “A major proponent of collective improvisation, he is considered one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz greats, such as Duke Ellington, Charlie …” (en.wikipedia.org)
• Walter Perkins (1903). Perkins recorded with Charles Mingus. “In New York, Walter Perkins recorded with Charles Mingus, Carmen McRae, Rahsaan Roland Kirk and others before fading from the scene.” (Fresh Air (NPR/WHYY))
• John Cassavetes. Mingus contributed music to Cassavetes’s film Shadows. “1959, Mingus contributed most of the music for John Cassavetes 's New York City film Shadows .” (Wikipedia)
• Out to Lunch! by Eric Dolphy (1964). Out to Lunch! (Eric Dolphy) — collaborator for Charles Mingus “A major proponent of collective improvisation, he is considered one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz greats, such as Duke Ellington, Charlie …” (en.wikipedia.org)
• Us Three by Horace Parlan (1960). Us Three (Horace Parlan) — collaborator for Charles Mingus “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.” (en.wikipedia.org)
• Miles Davis (1926). Mingus Ah Um (Charles Mingus) — peer for Miles Davis (via 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 The Shape of Jazz to Come, this was a major achievement, featuring such classic Mi…” (en.wikipedia.org)
• John Coltrane. Mingus Ah Um (Charles Mingus) — peer for John Coltrane (via 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 The Shape of Jazz to Come, this was a major achievement, featuring such classic Mi…” (en.wikipedia.org)
• Jeff Beck. Beck is named among artists who covered the song. (via Goodbye Pork Pie Hat) “The song has been covered by both jazz and non-jazz artists, such as Jeff Beck , Andy Summers , Eugene Chadbourne , and Bert Jansch and John Renbourn with and without Pentangle .” (Wikipedia)
• Andy Summers. Summers is named among artists who covered the song. (via Goodbye Pork Pie Hat) “The song has been covered by both jazz and non-jazz artists, such as Jeff Beck , Andy Summers , Eugene Chadbourne , and Bert Jansch and John Renbourn with and without Pentangle .” (Wikipedia)
• Eugene Chadbourne. Chadbourne is named among artists who covered the song. (via Goodbye Pork Pie Hat) “The song has been covered by both jazz and non-jazz artists, such as Jeff Beck , Andy Summers , Eugene Chadbourne , and Bert Jansch and John Renbourn with and without Pentangle .” (Wikipedia)
• Bert Jansch. Jansch is named among artists who covered the song. (via Goodbye Pork Pie Hat) “The song has been covered by both jazz and non-jazz artists, such as Jeff Beck , Andy Summers , Eugene Chadbourne , and Bert Jansch and John Renbourn with and without Pentangle .” (Wikipedia)
• John Renbourn. Renbourn is named among artists who covered the song. (via Goodbye Pork Pie Hat) “The song has been covered by both jazz and non-jazz artists, such as Jeff Beck , Andy Summers , Eugene Chadbourne , and Bert Jansch and John Renbourn with and without Pentangle .” (Wikipedia)
• Davey Graham. Graham covered the song on Folk, Blues, and Beyond. (via Better Git It in Your Soul) “"Better Git It in Your Soul" was covered by Davey Graham on his album Folk, Blues, and Beyond .” (Wikipedia)
• Ron Miles. Miles performed a version of the Mingus composition. (via Pithecanthropus Erectus) “Trumpeter Ron Miles performs a version of "Pithecanthropus Erectus" on his CD Witness .” (Wikipedia)
• New York Ska Jazz Ensemble. The ensemble covered Haitian Fight Song. (via Haitian Fight Song) “The 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.” (Wikipedia)
• Kevin Mahogany. Mahogany recorded Mingus’s elegy for Ellington. (via Duke Ellington's Sound of Love) “Mingus's elegy for Ellington, "Duke Ellington's Sound Of Love", was recorded by Kevin Mahogany on Double Rainbow (1993) and Anita Wardell on Why Do You Cry? (1995).” (Wikipedia)
• Anita Wardell. Wardell recorded Mingus’s elegy for Ellington. (via Duke Ellington's Sound of Love) “Mingus's elegy for Ellington, "Duke Ellington's Sound Of Love", was recorded by Kevin Mahogany on Double Rainbow (1993) and Anita Wardell on Why Do You Cry? (1995).” (Wikipedia)
• Jean Shepherd. Shepherd narrated the title track of Mingus’s album The Clown. (via The Clown) “Another album from this period, The Clown (1957, also on Atlantic Records ), the title track of which features narration by humorist Jean Shepherd” (Wikipedia)
• Mood Indigo / The Money Jungle sessions by Duke Ellington (1962). Mood Indigo / The Money Jungle sessions (Duke Ellington) — peer for Charles Mingus “A major proponent of collective improvisation, he is considered one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz greats, such as Duke Ellington, Charlie …” (en.wikipedia.org)
• Free Jazz: A Collective Improvisation by Ornette Coleman (1961). Free Jazz: A Collective Improvisation (Ornette Coleman) — peer for Charles Mingus “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 The Shape of Jazz to Come, this was a major achievement, featuring such classic Mi…” (en.wikipedia.org)
• Brilliant Corners by Thelonious Monk (1957). Brilliant Corners (Thelonious Monk) — peer for Charles Mingus (musicbrainz.org)
• Dannie Richmond Quintet: Ode to Mingus by Dannie Richmond (1979). Dannie Richmond Quintet: Ode to Mingus (Dannie Richmond) — collaborator for Charles Mingus “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…” (en.wikipedia.org)
• Original Jazz Classics: Dolphy at the Five Spot by Eric Dolphy (1961). Original Jazz Classics: Dolphy at the Five Spot (Eric Dolphy) — geography for Charles Mingus “A major proponent of collective improvisation, he is considered one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz greats, such as Duke Ellington, Charlie …” (en.wikipedia.org)
• Central Avenue Breakdown by Lionel Hampton (1940). Central Avenue Breakdown (Lionel Hampton) — geography for Charles Mingus “He then played with Lionel Hampton's band in the late 1940s; Hampton performed and recorded several Mingus pieces.” (en.wikipedia.org)

Who Charles Mingus influenced

• David Bowie (1947). Names Charles Mingus as a jazz influence that led Bowie to take up saxophone. “his enthusiasm for players like Charles Mingus and John Coltrane led his mother to give him a Grafton saxophone in 1961.” (Wikipedia)
• Epitaph by Gunther Schuller (1989). Epitaph (Gunther Schuller) — legacy for Charles Mingus “A number of pieces of his 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- …” (en.wikipedia.org)
• Elvis Costello and the Brodsky Quartet: The Juliet Letters by Elvis Costello (1993). Elvis Costello and the Brodsky Quartet: The Juliet Letters (Elvis Costello) — legacy for Charles Mingus “Elvis Costello has written lyrics for a few Mingus pieces.” (en.wikipedia.org)
• Blood on the Fields by Wynton Marsalis (1997). Blood on the Fields (Wynton Marsalis) — legacy for Charles Mingus (musicbrainz.org)