Ted Curson: Atypical Ted
“ ...the main thing I picked up from Mingus was to do your own shit, straight ahead no matter what. ”
Curson and the Heaths were just a few of the musicians whose seeds were sown in the wake of Bird and Dizzy - "there were a lot of us around the same time who got our instruments; I mean, we couldn't play, but we played badly together. Curson attended the Mastbaum School (he later attended Granoff) for musical training - Red Rodney, Stan Getz and Gerry Mulligan among others studied there - and turned professional at 16. It was around his late teenage years that Curson began to get involved with another scene in Philadelphia, those who were trying to do something different with the doors opened by bebop's architects - people like reedmen Bill Barron and Odean Pope. Curson puts it this way: "I was raised in the middle of the Dizzy Gillespie thing, I was surrounded with this and I knew I'd never play like Dizzy and I didn't want to. I wanted to see what I could do - what Ted Curson could do with 'A Night in Tunisia'.
It was also around this time that Curson met Miles Davis; the teenage upstart was, in his words, "wearing my hair like Miles, I had a tie around my waist, I even made the mistakes that he made. I liked his approach to everything and I still do. He heard me play when I was around 15 or 16 and he gave me his card and he said 'if you ever come to New York, give me a call.' There was no conversation - he said that and left - and I kept that thing in my pocket for years. After I graduated, it was about three years before I finally moved there [at age 21] and I called up Miles. Miles said 'Ted Curson, that little guy from Philadelphia? We've been waiting for you for three years! Where the hell have you been?' The scene appeared to be aware of Curson's potential, for he was almost signed to Roulette Records at Birdland before making any appearances as a leader, the night Roulette's A&R man and Birdland co-owner Irving Levy was murdered outside the club.
After a yearlong stint with Cecil Taylor that resulted in one concert and a recording for United Artists (Love For Sale, 1959 or 1957 [depending on who one asks]), Curson joined Charles Mingus in a quartet in 1960, with reedman Eric Dolphy as a foil. "I got a phone call from a friend of mine and he said 'I got a call from Mingus and I don't want to play with that crazy motherf*cker. You want to take my place?' It was in Teddy Charles' loft, and there were a 1,000 or something musicians in there jamming, and I met Mingus and we played and everybody dropped out and that was it. He said 'maybe one day I'll call you' and about two or three months later I get a call at about midnight and it's Mingus. 'Ted Curson? Charlie Mingus here. You start right now. I'm at the Showplace in the Village and as soon as you get here, you go to work.' I got there and he said 'Okay ladies and gentleman, here's your new band - Ted Curson and Eric Dolphy - and you other cats are fired!' Curson stayed with the Mingus group through 1961, including an important performance at the Antibes Jazz Festival in France in July of 1960. Curson was the group's media spokesperson, which was a good thing for the trumpeter, as his image became more firmly rooted in the European public - laying the groundwork for a warm European reception a few years later. For Curson, "the main thing I picked up from Mingus was to 'do your own shit, straight ahead no matter what.'