One of the more interesting sections of interview concerns Mingus' take on the music business: "It's money and women, or it's musicand you can't fool yourself. You don't want music to lose." It was precisely the issue of insufficient money to perform at Wein's Newport Jazz Festival that saw Mingus and others set up the rival Protest Festival in 1960. Unsurprisingly, Wein and Mingus' accounts of the issue don't tally. Wein is however, full of praise for Mingus the musician, describing his music for string quartet as "an incredible work." As for women, Mingus' tales of his pimping days and his whoring in Tijuana come across as ugly braggadocio.
The Mingus interviewsat least the ones with the subjectare many layered; heady streams of consciousness that flow with an uncommon rhythmic vitality. Multiple ideas tussle and converge in a strangely compelling cacophony. The blues runs through much of the narrative and it's always emotionally charged. In short, much like Mingus' music.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.