Charles Mingus: Epitaph's Return
"If you take any one of the dozens of musicians who worked with Mingus, Curson continues, "it seems to me they were in their best shape thinking and playing when they were with him. If you couldn't play, he wouldn't hire you. When you were with him, you had to be ready and really mentally sharp. He put a lot of pressure on you and it was like putting pressure on coalyou make a diamond. He put so much pressure on guys that if they had anything in them, it was going to come out. All the guys could play, but it seemed like he got a little bit more out of you.
"If you weren't willing to give it up, concludes Curson, "he'd take it off you anyway. He was a modern day Jesse James: 'Give it up or I'm going to take it, but any way you're going to give it up because you're on my bandstand... And with most leaders, a gig would get easier the more you played. But with Mingus the longer you were in the band the more difficult it got. Sometimes he would take you to the whipping post; he was the boss and he didn't have to say it, you knew it when you were on his bandstand.
Another thing Curson points out is that Mingus was one of the few jazz musicians who could keep long gigs and continue drawing an audience. (This writer had the pleasure of seeing the Curson-Dolphy quartetwith guest artists including tap dancer Baby Lawrence and reedman Yusef Lateef on weekendsover many months at The Showplace in Greenwich Village in 1958-59). That, says trumpeter Jack Walrath, who was in one of Mingus' last working quintets and on Epitaph, was partly because of his "eclecticism and his willingness to break the so-called rules. Like teaming up with tap dancer Lawrence, having monologist Jean Shepard record narration to "The Clown or creating politically charged lyrics to such pieces as "Fables of Faubus and "Freedom.
Gunther Schuller is returning to conduct "Epitaph in four performances across the country in March and April, 2007, and his opinion of the piece is just as positive as it was eighteen years ago. "It is a masterpiece of music, whether jazz or not is not important, he said recently. "It has nineteen or more movements [a newly discovered section may be added to these performances] that are all of the highest creative, innovative quality. And they are all different; they run the gamut from the most soulful, basic kind of blues jazz to the most complex, almost Charles Ives-ian constructions and inventions. There are movements that have almost nothing to do with jazz, influenced by Stravinsky and Schoenberg. But of course when jazz musicians play them it has a certain feeling of jazz. It is a range that even Duke Ellington never covered, plus the fact that it is for a double jazz orchestra. It is an absolute tragedy that Mingus never got to play and hear it in his lifetime. All of that makes it a unique piece in jazz history.
Because of all the tsunami-like waves put in motion by the first performance of "Epitaph, this time around Sue Mingus feels it will be even better than in 1989. "When we first presented it, it was so daunting it sometimes seemed tentative, but now we have so many musicians who have been playing Mingus Music that they have Mingus in their pores now. Just playing it, with all its requirements is going to make it much easier for musicians this time around. It's going to really sparkle.
And as if all this new Mingus Music activity isn't enough, Sue Mingus has also been increasing Charles Mingus' legacy with newly released, archival recordings. 2006 saw the release of Music Written for Monterey 1965, Not Heard...Played in its Entirety at UCLA, Sep. 25, 1965 (Mingus Music-Sunnyside, two CDs), a rare glimpse at Mingus presenting extended compositions with a larger ensemble, an octet. And in the summer of 2007 Blue Note will be issuing Live at Cornell, 1964, a two-CD set by the sextet Mingus brought to Europe that year, with Dolphy, Johnny Coles, Clifford Jordan, Jaki Byard and Richmond.
"There are a lot of recordings and even video, of that band in Europe, says Sue Mingus, "but this is one of the very best. They were all happy and healthyJohnny Coles took ill after a week in Europe and dropped out of the band, but here he sounds like the 'holy man' Mingus used to call himand this is just a marvelous recording.